Despite, ostensibly, appearing to be at exact opposite ends of the movie spectrum, there are some similarities between Oppenheimer and Barbie. Both have filled multiplexes and independent cinemas with punters in a time of great need and both have done so whilst being standalone, unique, interesting, original and thoroughly well-made visions from world class directing and acting talent. Both are awards-worthy, thought-provoking, debate-encouraging, boundary-pushing and trendse

With the Hollywood strike ongoing, the sight of cinema screens sold out is a joyous thing. It's, no doubt, been aided by social media but let's still celebrate a flock of audiences going to see two standalone, thoughtful, important and ‘non-traditional’ blockbusters. Barbie may just be the most non-traditional blockbuster you’ll see. A wildly original, thought-provoking, laugh-out-loud explosion of colour and delight. With Greta Gerwig and Noah Baumbach behind the wheel and T

An idea as simple as making a match of fire and water and Pixar are on to another absolute winner in Elemental. Always the best at turning a simple, but wildly imaginative, concept into a thought-provoking, tear-inducing masterpiece this is another paean to life’s big emotions. After handling emotion itself in the incomparable Inside Out and death in Coco and Soul (as well as family and coming-of-age in Onward and Turning Red) Elemental themes itself around love and acceptanc

There’s a pretty compelling case for the Mission: Impossible series to be the most purely entertaining cinema spectacle of the lot. Quietly, but consistently, these films have ratcheted-up and shown every other action franchise out there how it’s done. It’s also difficult to name a series of this length where the films have actually got better as they’ve gone along, no diminishing returns here just steady perfection of the formula. Mission: Impossible - Dead Reckoning, ostens

Ah, time: healer of wounds, harbinger of evil, destroyer of worlds, pain in the backside and, apparently, the only available theme for every current blockbuster film. Time is, in every which way, the pervasive theme of Indiana Jones and the Dial of Destiny. Not only does it drive the plot as the properties of its titular MacGuffin but it’s written all over Harrison Ford’s face throughout what will be the last time we see this character onscreen, easily in consideration to be

A new Wes Anderson film is always something to celebrate as, in a sea of big studio films and decisions by committee, you know you’re going to get an auteur’s vision sprinkled with impeccable detail on an original story. Asteroid City is very much this but, unfortunately, perhaps goes a little too far down the visionary route to a point where it’ll certainly alienate (pun intended, given the film’s subject) the non-converts out there. This story-within-a-story surrounds a pla

Where to even start when reviewing The Flash? The controversy of opting to release the film amongst the ongoing allegations against Ezra Miller? The controversy of opting to release the film amongst those allegations and, also, after the decision has already been taken to end the existing ‘DCEU’ and have James Gunn unleash an entirely new ‘DCU’ on the world next year, despite the Shazam! and Aquaman sequels also arriving in 2023? The seemingly lukewarm cinema takings vs. the

No Hard Feelings should be billed as a 'friendship comedy' rather than any kind of new American Pie. Whilst we haven’t had the sort of R-rated, American, 'sex-focussed' comedy in a while, the thrust (pun intended) of the plot here is far too icky a concept to get over in that context. Thirty-something Maddie answers a Craigslist ad’ (apparently inspired by a real advertisement) from parents offering a free car to a girl who can ‘liberate’ their socially awkward teenage son. S

Spider-Man: Into the Spider-Verse was a miracle. An animated superhero movie, made separately to the two shared-universe mega-franchises, which not only stood out like the vibrant sore thumb it was but has a claim to be sat at the top table of the genre. If that was a miracle then its sequel (a full five years later!) Spider-Man: Across the Spider-Verse is an almighty gift from the multiverse. Not only does this (somehow) improve and better its predecessor but it might just b

Another Disney remake and, sadly, another negative review. The two go hand-in-hand and it’s important to make clear that this is a crying shame. Criticising Disney just feels cruel, doubly so when the film in question can sell out a cinema on a weekday evening and is so clearly designed for families and young people. With that said, The Little Mermaid continues this run of bad form on this incessant journey to remake the classics, adding nothing much of note to proceedings. I

The ‘office-based, true story thriller/drama’ has got to sneakily be one of the best genres in film. Generally touting all-star casts and behind-camera talent and needing to be laser-sharp in terms of script to hold audience interest, films like Spotlight, Moneyball, All the President’s Men, The Post et al. (also throwing Margin Call into this list, despite not being a ‘proper’ true story) are some of film’s best. Ostensibly, these films usually revolve around journalists but

There’s bound to be a lot of tearful goodbyes amongst Marvel’s Phase 5 output. Sadly, a lot of that will be down to boring ‘real world’ stuff like contracts and existing characters not fitting into the upcoming slate, but one component that we do look to be losing in their current incarnation is the Guardians with Guardians of the Galaxy Vol. 3 supposedly representing their last hurrah. It’s a shame as, barring Captain America and Spider-Man, these films sit at the top table