Tick, Tick… BOOM! – Review
Andrew Garfield shines in his vital performance of musical composer Jonathan Larson in ‘Tick, Tick…BOOM!’ directed by Lin-Manuel Miranda.
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Studio 666 – Review
It feels like ages since Matthew has written a film review. Could it be the global pandemic, or was he just waiting for Dave Grohl’s first leading role in comedy-horror Studio 666? Click to find out!
Don’t Look Up – Review
It is no mistake that ‘Don’t Look Up’ is an almost uncomfortable watch, looking to mirror the global ineptitude of the climate crisis. The question remains – does realism make for good comedy?
The Matrix Resurrections – Review
‘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.
Spider-Man: No Way Home – Review
We cannot give too much information about ‘Spider-Man: No Way Home,’ as the best experience would be to view it fresh. So, here is a small, spoiler-free run-down of why you should see it.
The Many Saints of Newark – Review
‘The Sopranos’ is a name synonymous with high-quality drama, famed for spearheading the second golden age of television. Can its prequel film, ‘The Many Saints of Newark’, recapture the magic? Ciaran reviews.
Eternals – Review
Marvel’s Eternals is a muddled misfire of cosmic proportions that constantly strains under the weight of its own expansive mythology.
Squid Game – Review
‘Squid Game’ has catapulted to the highest-streamed Netflix series, becoming a cultural phenomenon. Izzy discusses the very real issues that underpin the series’ surrealist tendencies.
Shang-Chi and the Legend of the Ten Rings – Review
Marvel’s “Shang-Chi and the Legend of the Ten Rings” arrives after Endgame’s epic climax to the Infinity Saga. Can Shang-Chi live up to the hype and help launch something equally as spectacular?
Jungle Cruise – Review
Disney’s ‘Jungle Cruise’ is one of the first cabs off the rank for post-pandemic cinema. The question now is not just whether it is worth seeing, but is it worth seeing in the cinema?