It’s interesting to think about when Disney might put an end to this ‘live action’ remake thing. With no consistent tone, logic or order you wonder if it’ll just suddenly stop or if they’ll put everything into production in the vague hope of achieving a true hit and potential franchise. Maybe the Treasure Planets or the Atlantis’ of the world could be the ones to work best. Until then, we must ponder the latest attempt to craft something truly worthwhile from this endeavour:

Given the clout of A24, its cracking cast and juicy trailer, it’s a smidge disappointing that Death of a Unicorn is ‘merely’ a monster movie horror/comedy with… you guessed it, a unicorn (well, unicorns plural) as its misunderstood ‘antagonists.’ There is probably a smarter and artier film to be made here but, having said that, what we have been served is still a lot of fun. This sort of fare has been done to death but can easily be done badly. While nothing will likely ever

It’s always fascinating to see an actor pulling a dual role in a film. That intrigue certainly seems to be the main advertising push for The Alto Knights, a fascinating true story about the early days of the Mafia. That in itself, and the influence these individuals had on The Godfather etc., is hugely interesting but, from its title on down, it is an easy film to admire but a hard one to truly love and understand. Switching from the original title (Wise Guys) feels a bit of

Following up a generational, awards-laden masterpiece cannot be an easy task. Bong Joon Ho has dipped into many genres but takes a route back into sci-fi with his follow up to Parasite: Mickey 17. A more light-hearted and inherently sillier film than the last, sure, but also one with timely elements and his usual fixation on ethical and humane issues. It’s rather like putting two of his other previous bits of brilliance, Okja and Snowpiercer, in a blender with a light dab of

The cult of celebrity is a rich topic to dissect, explore and satirise and Opus, directed by former magazine editor Mark Anthony Green, is a great example of the form. It’s such an obvious and OTT bit of messaging that you could argue that all Green is actually trying to do is just create a fun, pulpy thriller and, in that, he thoroughly succeeds. It’s just brilliant, dumb fun gilded by a lingering disgust and disturbance at how society is inclined to revere and elevate those

There are two types of spy films. Bracket them into ‘Ian Fleming vs. John Le Carre’ if you will. The all-action, in-the-field, slightly unrealistic action spies vs. the more cerebral, realistic, office-based espionage. Despite featuring actual Bond alumni (Pierce Brosnan, Naomie Harris) and some bookies' favourite potential future Bonds (Michael Fassbender, Rege Jean-Page) the new film from Steven Soderbergh: Black Bag falls into the latter camp. Nothing wrong with that at al

It does rather feel like nostalgia for the nineties and noughties is a current ruling trend in the media and cinema is no exception. Alongside Marching Powder in cinemas at the moment is the equally fun and funny One of Them Days, a classic-feeling buddy-comedy that, unlike the Danny Dyer film, feels brilliantly out of time. Across one rather traumatic day, roommates Dreux and Alyssa try and recover stolen rent money, ace an important job interview, escape the attentions of a

Having Danny Dyer team back up with The Football Factory director Nick Love for another film largely focused on football hooliganism wasn’t necessarily on the 2025 bingo card. Marching Powder may feel a little out of time and place in part but, by using that as the key throughline of the film, it’s an enjoyable update that broadly works. Dyer plays Jack, still indulging in his old ways despite his advancing years. He’s not the same character as in the previous film but easily

Las Vegas is usually depicted on screen as the bastion of glamour and fun. A setting for movies about gangsters, stag parties, holidays and romances. The Last Showgirl depicts a very different kind of Vegas story, one more of faded glamour and the passing of time. It is also sumptuous, dreamlike, moving and wonderful. Notably featuring the first performance after a long time out of the movies from Pamela Anderson and directed by Gia Coppola in a style akin to her aunt Sofia,

All good teams lose sometimes and so it is that Captain America: Brave New World doesn’t usher in the 'brave' and 'new' world of its title so much as, shockingly, a valid contender for the worst film of the entire and storied franchise that is the MCU. It’s hard to know quite how we got to this point. Marvel smartly took a breath last year in their hectic release schedule, released Deadpool & Wolverine to record numbers and teased and announced some really exciting projects f

The ‘Black Mirror-inspired’ sci-fi/dark comedy/horror is a rich genre starting to get full with modern greats and prescient stories sure to hold good reply value. The most recent entry: Companion maybe doesn’t quite hit the heights of the best of this little subcategory but is, nonetheless, a brilliantly fun little trip to the cinema. A hugely entertaining mash up that, simultaneously, has a tongue-in-cheek feel as well as a very cleverly delivered moral message about toxic r

Hard Truths is a hard watch. Nonetheless, Mike Leigh’s latest is simultaneously heart-warming, funny, truthful and truly sad. Leigh brilliantly puts the human condition on the screen in this family drama, set over the course of a few days in suburban London. There’s no grand, sweeping narrative and no redemption arc, just a tight and razor-sharp script and a film that unspools almost like a play. Marianne Jean-Baptiste really should have been Oscar-nominated for her performan