‘The Matrix Resurrections’ is an aggressively on-the-nose, achingly self-aware, metafictional romp through legacy, loss and love. It’s a glitch in the lived experience of ‘The Matrix’ as ‘The Matrix,’ with the feeling of a hapless ghost caught in an all-consuming algorithmic machine.
Marvel’s Eternals is a muddled misfire of cosmic proportions that constantly strains under the weight of its own expansive mythology.
Can the latest instalment in the FF franchise maintain any momentum? Or does it push the absurdity too far? Read our review of F9.
“Those Who Wish Me Dead” is a compelling character drama and gripping blockbuster. The film’s inevitable moments of tense action and kinetic thrill are most impactful when sequenced next to warm scenes of sparse landscapes. While the third act burns out a little towards the end, with a messy conclusion and slight stretch of wildfire realism, Sheridan is certainly a master of his craft and in fine form once more.
Australian alien-invasion sequel “Occupation: Rainfall” overflows with spectacular big-budget action, but struggles to consolidate its elements into the groundwork for a great Australian franchise.
“Let Him Go” is a by-the-numbers, revenge-action thriller driven by relatable moral conundrums and human emotional impulses. Owen reviews.
While Irresistible effectively skewers bi-partisan hackery, media complicity, and political grandstanding, it’s a shame that director Jon Stewart’s eye for satire is quickly bogged down in wistful nostalgia for a bygone era.
Tenet, Christopher Nolan’s newest blockbuster, is his most overt foray yet into the exploration of time as a narrative agent unto itself.
Babyteeth is a heart-warming and emotionally affecting drama with a resonant ending that will stick with you long after the final credits wash ashore.
“The Burnt Orange Heresy” is a film that exists firmly within the domain of art history and high society and is intimately concerned with ideas of visual imagery, criticism, philosophy, and the normativity of facts and meaning.
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