Stephen Merchant’s dramedy about a Norwich born WWE superstar succeeds through its wholesome heart and a fantastic lead performance from Florence Pugh
Cold Pursuit is a revenge thriller that proves nothing more than a particularly dull entry in a string of bad genre flicks
“This is a movie which demands to be seen on the big screen”
A terrible example of trying to have your own cake and eat it. Balancing an interrogative character piece alongside Clint Eastwood having two threesomes
This new indie slashfest, Hell Fest, proves entertaining and creative, but is held back by tedious leads, dull set pieces and predictable deaths.
Four women must take over a heist after their husbands die on the job, yet seemingly Widows still focuses on the men, inexplicably
Tetsuo: The Iron Man is a radical film that is profoundly shocking in both style and content, fostering a powerful sense of unease in the viewer. Almost 30 years after its release, it still has the capacity to disturb, writes Ashwin Tharoor
Ever considered using psychedelic drugs? This film might make you think twice. Alfie Clark reviews Gaspar Noé’s fifth feature film
To All The Boys I’ve Loved Before is a wonderfully cringe-worthy film and reminiscent of the fleeting yet intense crushes we all have had, and still have. The film, based on the book by Jenny Han, was released on Netflix in August 2018. The film follows a 16-year-old, Lara-Jean, as she tries to navigate the […]
The Runaways tells the story of three siblings from Whitby, on the run with two donkeys.
A Private War explores Marie Colvin’s career and personal life, with her words “I see it so you don’t have to” ringing in the audience’s ear.
Escape Room is a confused, poorly written mess of a horror film that’s also glorious to watch for its ridiculousness and bizarre imagination.
Carl Fitzgerald reviews a disappointing The Possession of Hannah Grace
A cohesive and well-paced ‘Nazi zombies’ movie, Overlord is a solid genre-mash up with impressive action sequences, and gruesome body-horror, writes Alfie Clark
Izzy Sharp finds aspects of Tom Beard’s Two For Joy compelling and heartfelt, yet ultimately unable to strike home with its depiction of the tensions within a modern British family
The three and a half hour long film is ‘honestly worth it’, writes Deputy Film Editor Aisha Al-Janabi
Riveting and enigmatic, Arrival is a wonderful addition to the elite club of sci-fi movies that, though fictitious, have a certain touch of plausibility to it