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When I saw leaked set photo Aronofsky's new film showing rising-star Austin Butler and Matt 'Doctor Who' Smith, dressed as an Oi! Punk, with full mohican, conversing in a grimy, stylised, New York, I had high expectations. Sadly, the film itself, Caught Stealing, was a major let down. It doesn't really get going until 20-mins in, and it never really catches fire either. Butler does his best, but he's too pretty and smooth to pull off this character, and lacks the comedic flair which the film was craving. Zoe Kravitz basically plays the herself like she did in The Batman. The supporting cast are more entertaining than the leads, and Matt Smith does a passable caricature of a Camden glue-sniffer from the 90s. Overall, Caught Stealing reminded me of Every Which Way But Loose, a chaotic caper, in which you don't really care about any of the characters, except the ape (or in this case, the cat.) There's clearly a lot of work gone into the set design; to create a grimy, graffiti, aesthetic, which echoes 70s New York; but just like Matt Smith's performance, it feels more like a veneer, and lacks depth. The most interesting thing about the film was injection of the pair of jewish mafia men, and a scene during Shabbos. The performances by Schriber and D'Onofrio, and their screen mother Carol Kane, are the strongest overall. I can't remember the last time I've seen a Hollywood film where jews are as openly portrayed as 'bad guys' since One Upon a Time in America. Although Aronofksy himself is a Khazar, he highlights the hypocrisy of their religion, rules, and mentality. Overall, the rushed, misanthropic Caught Stealing leaves you feeling a bit grubby and exhausted. The only message of the film being, 'Hey, as long as you get away with it, it's OK.'It's surprising that the man who made classics like Requiem, Black Swan, and The Wrestler, would make such a one-dimensional film this time **** add insult to injury, the picture was way too underexposed during my screening and the audio was often a mess.

What a narrative mess of a film. Still entertaining throughout. It's half video-game, half film. Corenswet and Nick Hoult both do fine jobs amidst the chaos of Gunn's manic and rushed plot. Lois Lane is once again an annoying, pasty faced, masculine muck-racker, and the close-up makeout sequences are unnecessary, particularly in a film geared at young children. I couldn't help noticing the president of the fictional Barovia looked and behaved very ****, and the political conflict echoing Israel & Palestine (crowd control by Hollywood to appease the goys?) Overall, it's like they shot two films, then edited them down into 160-minutes.

Chalamet isn't really an actor, he's more like a model who can deliver a few lines. I can almost see his paycheck in the reflection of his eyes, during close-ups. Compare what Brando, Rourke, Nicholson, Deniro, Pacino, Hopper, etc, had achieved by the age of 27. World's apart. Paul King's two Paddington films were excellent, so this film is a real let down. Trying to bash out a children's story like Roald Dahl clearly wasn't achievable. The musical scenes are cringe, and there's so much autotune and compression on the vocals, they may as well have been done by AI. The only engaging scenes are when Hugh Grant shows up. Wonka was made at the height of woke, so the remaining supporting cast speaks for itself. Overall, it feels like a film made by corporate committee.

The first 2/3 of the film are pretty good. The director even makes Keanu Reeves look like a competent actor. BY the third act the writing goes all goofy, the tone changes, and it becomes almost like a cartoon. Shame!

There are some great scenes, moments, and one-liners: the diner, the elevator, the fish market; but Sudden Impact could have done with maybe 20 – 30 mins cut out from it. Just like in Bronco Billy, The Gauntlet, and Josey Wales, Sondra Locke's character is 'brutalized' once again, except this time it's used as the main plot device. Clint showing up, backlit, to save the day in the final act is so over the top, it's laughable. Some great looking mise-en-scène and cinematography, often with lazy and underwhelming shots slammed against it. Usually, this can be excused if the narrative is gripping, but Sudden Impact jostles along clumsily, and at times, feel almost out of gas. The script needed tightening, and so did the edit. Still, another enjoyable Malpasso production, but nowhere near Clint's best.

I only watched this because of Nicholson, but was asking myself the whole time, why did he agree to be in this? The only two Sandler films I've even seen of any quality have been Punch Drunk Love and Uncut Gems, and that's because of the directors. Anger Management is one of those films you know will set a low-bar within the first few seconds. It's also very jewish, with even a reference to the talmud in the dialogue, with Nicholson saying the line: "There’s an old saying in the talmud: 'Who is wise? He who learns from all men.'” Whereas Baba Kamma 113a would have been more appropriate: 'jews may use lies to circumvent the goyim.'

Eggers' version of Hertzog's Nosfertu grinds to a halt past the halfway point. Sasgaard does an impressive job as the monster, but the acting, and therefore Eggers' direction of the 4 younger cast members, is sixth-form stuff. You'd be better off watching the earlier versions tbh. P.S The ending is disgusting!

If the second and third acts of the film were as good as the first, the film would be a masterpiece. Sadly, it begins to fall apart after a strong opening, but remains intriguing and beautifully shot, throughout.

[SPOILER ALERT: This review contains spoilers.]

Hugely impressive film. I'm not sure I've seen a film with such compact dialogue. The directing is A-Grade stuff, you know this because all the actors are convincing, even the child actor, and Justine Triet is able to create hyperrealistic atmosphere throughout. The film is essentially an intellectual 'who dunnit?' which can grate on you, at times, but still keeps you hooked. I'm glad I watched Anatomy of a Fall, but it made me yearn for a Malpaso Production: scenes with little to no dialogue, and a satisfying conclusion.

I love Cimino, but he dropped the ball on this one. It has the makings of something great, but falls at nearly every hurdle. If you're a fan of Mickey Rourke, it's still worth a watch.

The Substance... It's absolutely brilliant. I've not seen a film this bonkers, since Inland Empire. The first two acts are excellent, but by the final act, the film just goes completely out of control. Just when you think it can't get any more insane, it does. Horrifying, almost to a comical level, which somewhat undermines the earlier narrative. Lots of clever references to other films: Alice in Wonderland, Pulp Fiction, The Elephant Man, The Fly, 2001: A Space Odyssey, Requiem for a Dream, etc etc.

"For what shall it profit a man, if he shall gain the whole world, and lose his own soul?" The Apprentice is a very well-made and engrossing film. In terms of genre, it borders on horror, mirroring The Godfather's narrative, with some Frankenstein thrown in. Roy Cohn takes a fairly naïve, young, Donald Trump under his wing, and schools him in the dark arts. Like Michael Corleone or Tony Soprano, Trump gradually loses his humanity as the film progresses, eventually surpassing the original savagery and evil of his teacher. Sebastian Stan does a great job throughout. By not overplaying the role, his portrayal of Trump never becomes a parody of itself. Worryingly, in some shots, Stan looks indistinguishable from the real Trump. Jeremy Strong excels as Roy Cohn, and Maria Bakalova, who plays Trump's captured wife, and eventual prisoner, Ivana, puts in possibly the strongest performance of the film. The scenes between Trump Sr and Jr are particularly affecting, and include some insight into why the life of Fred Trump Jr, Donald's elder brother, fell apart. The film includes a r**e scene, which is based on Ivana's 1989 divorce testimony. Considering the real-life Trump may shortly become president for a second time, the film-makers are bravely putting themselves in danger for its inclusion. The scene may also draw the viewers' minds to the other alleged r**es and assaults Trump has committed against women, and children. Under the surface of the plot, the film-makers carefully weave an allegory for the contemporary state of America, U.S. domestic and foreign policy, and questions: Behind the star-spangled curtain, what really is the American dream?'

The amazing thing about Ridley Scott's original and unbeatable Alien film, is how it still looks and feels fresh and futuristic, now over four decades on, since its creation. Even if you've seen the film several times before, the tension and the jump scares still grip you. Quite an incredible feat of cinema. This masterpiece was made for only $11m, which is the equivalent of £36m today. Brilliant casting, particularly the great Ian Holm and John Hurt, who are now immortalised forever in celluloid.

If you liked Samurai Cop, you'll love this. If it weren't for the budget, Commando would be the 80s equivalent of The Room.

This is a surprisingly watchable, well-made, and frank documentary by Doherty's long-suffering partner, Katia. Much of which are the video diaries she took of Peter over their years together. It's a bit like looking through the peephole of a Victorian asylum, where the viewer wants to look away, but can't. Vitally, the doc shows the stark realities of being the world's most famous drug addict. It's a wondrous reminder of how a man with such limited musical talent has been able to carve out a successful career for himself, spanning over two decades, and remain alive, let alone in-demand. We also get to see a rare side to the tortured enfant terrible, where Peter (not Pete now) is at times remorseful, weepy, frightened, vulnerable, and climactically; sober.

Great to watch an original film, rather than a reboot/remake/prequel or sequel. Garland's Civil War is a hyperbolic fever dream, no doubt influenced by the January 6 Capitol riots, and the storming of the White House. It's impressive this film was made at all considering the current climate. The action scenes are great, and the violence is very graphic. There is a particularly strong scene featuring Jesse Plimons which shows the terrifying reality of combining pig-ignorance with assault rifles. Unfortunately, his wife Kirsten Dunst is simply too recognisable to maintain the film's attempt at hyperrealism. Cailee Spaeny acts as us, the viewer, playing a wide-eyed voyeur, seeking a thrilling journey into the heart of darkness. She did a good job throughout, as her character is subjected to the very best and worst of humanity. Definitely worth a watch.

'Paris, Texas' is two-and-a-half hours long, but feels like four. It is undoubtedly very beautiful; the delicate texture of the celluloid, nearly every shot is carefully lit and composed, with some powerfully emotive scenes. The film is a slow meditation on self-realisation, and that reality is not every parent is fit to raise a child. Like all of Wenders' work, Paris Texas is unique, with moments of sheer beauty, yet at times, pretentious to the point of frustrating indifference.

A hidden gem. Trees Lounge has its own unique pace, closer to Ozu than contemporary films within its genre.

4/5 for the scenes featuring the Harkonnen, 1/5 for the rest of it. Z3PO's acting is so atrocious it's laughable.

Absolutely stupid film. Written either by a 12-year-old, or a man with the mind of a 12-year-old.

Sadly, the film doesn't get interesting until the final 3rd. Lily Gladstone's interviews regarding the film are no different from her performance in this, which is dull and monotonous. DiCaprio puts in a good show, and DeNiro should have retired in 1997. If I hadn't watched it in the cinema, I would have quit Killers of the Flower Moon after 30-mins. The film, for the most part, feels like a **** exercise for Scorsese, who, unlike elder statesmen like Ken Loach or Michael Haneke, hasn't retained the edge which made him a cinematic legend in the first place.

Somewhere between The Talented Mr Ripley and The Wicker Man. Saltburn is a nasty little fairytale-cum-nightmare. A cruel and hyperbolic depiction of a daft and debauched upper-class family. A world which director Emerald Fennel knows intimately, as a former Marlborough College, and Oxford alumni. She was able to use her own experiences to accurately portray the University scenes, which is also, where the realism ends. Saltburn is all over the place, needed shortening, yet never loses your interest. Intentionally or otherwise, Fennel was able to make the entire viewing experience deeply uncomfortable throughout, whilst at times, veering into the ridiculous; garishly accompanied by the trashy 2000s soundtrack. The more experienced actors, Pike, Grant, and Mulligan, hold the scenes together better than the youngsters. Barry Keoghan does put a shift in, yet he doesn't quite have the ability to hit the emotional home-runs within the scenes to the next level. His performance only made me long to see Seymour-Hoffman again. The ending was far too blunt, and should have been handled more deftly, to keep the audience guessing. It can hardly be called a 'twist,' when the resolution had been telegraphed throughout. The photography is superb, as is the camera work; although the lighting effects often feel like a reviewing a cinematographers show-reel. Curious and divisive, Saltburn is a welcome break from the infantilised superhero and sci-fi films of recent years, leaving an unfamiliar taste on the palate.

It's beautifully shot, with excellent set design, wardrobe, hair & make-up. All very accurate and period specific. Where Priscilla falls down is the direction and atmosphere, which is Sophia Coppola's department. Watching the film is a lot like watching an interview with Ms Coppola, in that, she looks expensively dressed and preened, talking confidently, yet always aloof, rarely saying anything of substance. Priscilla's narrative fast-forwards in quick vignettes, in somewhat differential, spectral fashion, with an uncharismatic, moody Elvis lurking nearby, and meek Priscilla, whispering throughout the film, in between kissing sessions, which becomes nauseating after a while. The strongest element of the film, is during the first act, where the viewer sees the young Priscilla, a child at 14-years of age, rapidly developing an all-consuming infatuation after meeting Elvis, who is portrayed as a childish, selfish, philandering, drug-addict. Although fleeting, the way Priscilla is treated at Graceland; as an object, rather than a person, is also well presented. Barked at by Elvis' useless father, or his father's lastest mistress, for being in the wrong room, or out in the garden, 'making a display of herself.' Anthoer missed opportunity was not to include, even briefly, The Colonel. It would have been interesting to see S.Coppola's take on the Dutch fraudster. When the Beatles visited Graceland, Paul McCartney & George Harrison vividly recounted how Priscilla was just brought out like a little doll to meet them, as a stoned Elvis sulked in front of a stereo system, playing his bass. You get the feeling Ms. Coppola didn't quite wrap her head around the research or get the dynamics of their relationship, and in-line with her auteurist style, this elegant film is more fashion show than engrossing melodrama. If you listen to the recollections of Elvis' goons, 'The Memphis Mafia', or his many women, they paint a much more vivid and visceral picture of life at Graceland and out on tour.

Proof that money and fame don't bring you happiness. Gomez comes across as an infantilized, coddled, and spoilt little girl, surrounded by yes men/women, who no doubt will disappear when the fame train runs out of track. It follows the tragic journey of many child stars, I hope things don't end the same way for Miss Gomez. The Africa charity stunt made no sense whatever, and she should have been honest about her drug addiction, as it may have helped lead her to recovery.

Out of the Furnace somehow managed to attract the greatest male cast ensemble of the past few decades: Bale, Defoe, Casey Affleck, Whittaker, Harrelson, Sam Shepard; which is surprising considering the script is so weak. It's like the writers, Ingelsby and Cooper, watched The Deer Hunter once then wrote a script treatment. One thing the film does do well, is use tone to expose the decay, misery, and industrial graveyards around Pennsylvania and West Virginia. The first act is way too long, and fails in its only task, which is to let the viewer empathize with the Bale and Affleck's characters. By the time the pay-off finally arrives, it's short-lived and then the film is over. Sadly, a missed opportunity.

Radcliffe and Watson deliver two of the worst acting performances ever captured in a big-budget film. The sound mix is awful, the colour grade is dull and lifeless, and the overuse of green screen and CGI dated this dreadful film before it was even released. The directing is so atrocious that even the onscreen ensemble of Oldman, Thewlis and Spall is barely passable.

A very badly directed, miscast, poor take of the **** classic. Watch David Lean's 1948 masterpiece for the greatest adaptation of Oliver Twist.

Another nostalgia trip from PTA. It's probably his most accessible film to date and has plenty of gags and comedic moments. Young Cooper Hoffman shines in the film and Alana Haim compliments him beautifully. A time machine to a better decade.

NOT FUNNY in the slightest. No idea who this film would appeal to. Psychopaths who find torture and mutilation amusing?

Gary Oldman is incredible in this. A jarring juxtaposition between his brilliant performance and the ineptitude of Reeves and Ryder.

Script: Passable Directing: Poor Acting: Garbage Dialogue: Dreadful Editing: Sloppy Yet... thanks to epic cinematography, production design, sound effects; this film is endlessly re-watchable. It's like a bigger budget, action version of The Room.

Haunting, beautiful, frightening; and very stylish. The best out of all the Hannibal film adaptations. It's a real 80's time capsule. Some magnificent shot compositions which rival Cimino or Lynch (who was originally meant to direct).

Another masterwork by master filmmaker Andrew Dominik. I can see why Netflix didn't want to release it because it's not spoonfed garbage for infants. Like Killing Them Softly, Blonde needs to be seen more than once before it's judged. P.S Look up Mary Pinchot Meyer.

Saw this in 4DX. The scenes in the air are are brilliant. Its so great they shot it in-camera and not like a Marvel CGI video game. It is worth watching the film just for the spectacular aerial sequences. Everything else is a bit ridiculous. The dialogue could have been written by a 15-year-old who had recently watched the original film. Close up's Jennifer Connelly's over-smoothed face and distant delivery garnered the loudest laughs from the audience. The overall message of the film is: Tom Cruise is the saviour of the universe, kneel before Tom, then go pay to see another Mission Impossible.

A mediocre film and a crushingly disappointing missed opportunity. It's all so surface-level and false. I don't have any hope for Part II, unless they replace Reeves. Give Aronofsky a shot at it? This was a chance to do something totally different. Reeves was never going to beat Burton, Nolan or Snyder at their own game. The PG-13 watered the action way too much. A 3-hour run-time is fine, but not if the film is boring (the worst of all cinema sins.) A few stand out sequences, not even scenes: the police station, the car chase, and the fight in a nightclub. Shame it was shot digitally, it added a souless element to an already paper thin narrative. The biggest audience reaction was Zoe Kravitz' line, 'white male privilege.' Matt Reeves The Batman takes its spot as the 2nd worst Batman film in history, stuffed firmly above Joel Schumacher's Batman & Robin.

A psychological horror/fantasy of what may or may not have happened in Sandringham, Christmas 1991. The filmmakers effectively create the claustrophobia entrapping their imagined version of the 'Queen of Hearts', then further flesh out the frigidity and oppressive nature of a Royal Christmas. Kristen Stewart's English accent in impressive, but her performance becomes very one-note after a few scenes. Compare it with A Woman Under the Influence, for example. Spencer is another example of a film with stunning hair, make-up, costumes, locations, mise-en-scene, only to be let down in the most important department: writing and direction. The overbearing soundtrack is very grating and ultimately undermines the film.

Not really a Bond film. The pointless character of Nomi/Woke Bond, is shoehorned in to add some misandrist overtones. Shame the Broccoli's followed the trend of insulting their audience. The film is technically fine, well directed along with fine cinematography. There are some pointless cringe lines of dialogue, and the final scene was completely unnecessary. Hopefully the studio can get things back on track with the follow-up, but don't count on it.

The Godfather II of Superhero movies. The action scenes are so complex and spectacular. Tobey Maguire is brilliant as Peter Parker, who goes through his most challenging character arc yet. Molina steals every scene he's in as Doc Oc. Didn't get a 10 because some of the cgi dates the film.

An amoral, unfunny, forced, predictably moronic, vulgar and lightweight waste of money. The three lead actors enjoy themselves while the audience groan and file out.

Really enjoyed it. Far better than Prometheus but not in the original Alien's league. Katherine Waterstone is great in this. Well written and directed, great set design and cinematography. Thankfully James Franco is only in it for a few minutes.

Entertaining but overall a highly convoluted mess with terrible casting (except Fassbinder). There are some epic sequences. Covenant is a far better film.

A missed opportunity and Courtney Love endorsed view on the short and painful life of Kurt Cobain.

My favourite PTA film. Wasn't sure the first time I saw it, but great films require more than one viewing. The more I watch it the more I want to live in it's world.

Like all PTA films Boogie Nights looks stunning. A clever analogy for the beauty, innocence and art of cinema and celluloid, being replaced by cheap and nasty mass-produced video, made solely for profit and entertainment. What's interesting is how PTA is able the make such a sleazy and immoral environment seem so fun and innocent, within the first act. When the 80's arrive and everything takes a turn for the worst, the writing lost its way and Boogie Nights becomes a bit of a mess (I thought the same of Magnolia). We lose touch with the central characters and Wahlberg (who is great in the 1st half) doesn't have the chops to play the latter stages of his character's demise. The character/scene's which made the greatest impression were with Eric and his mother, based on PTA's own mother. Bogie Nights is still a great achievement, especially considering PTA was only 27 when he made it.

What is wrong with people. This is like the Dark Knight all over again, where reviewers have bought into the hype and put objectivity aside. Very poor. Flat, monochromatic cinematography. Badly acted and directed. Much of the the dialogue was incomprehensible. CGI garbage all over the screen. It looks cheap and lifeless compared to Lynch's version.

[SPOILER ALERT: This review contains spoilers.]

Mindless garbage. Is this what we allow the corporations to feed to our children?

I don't know why I watched this when I knew it would leave a bad taste in my mouth. I just wanted to see what the Disney Corporation force-fed the masses in the guise of a Spider-Man film these days. There is a cut every 2-seconds. Rapid-fire, self-satisfied dialogue which only the writers found funny. Headache inducing, muddled, CGI goop all over the screen. Everything about the film is lightweight. The writing, the direction, the awful editing. I forgot almost everything I saw by the credits.

Comedic as it is emotionally engaging. A neo-western, with the old cowboy transposed into a multi-cultural and fractious, American landscape. I felt using **** as a plot device was misjudged, as was the priest's initial reaction; but otherwise a brilliant, unpretentious, moving work of art from a living legend.