Hellboy: The Crooked Man tries its hardest to deliver a fresh, horror-driven take on the famed comic character, but ultimately it stumbles through a tedious experience that fails to engage.
Kingdom of the Planet of the Apes serves up a rich blend of action, adventure, and character-driven storytelling, marking a vibrant continuation of the beloved franchise.
Ghostbusters: Frozen Empire is a charming yet convoluted romp through the world of the Ghostbusters.
Godzilla x Kong: The New Empire continues the MonsterVerse saga by pitting the iconic Godzilla and Kong against new, formidable threats.
Netflix’s Damsel, led by Millie Bobby Brown, is a refreshing fantasy addition to the genre that seems to be increasingly forgotten as the years go by.
In Dune: Part Two, the saga continues as we follow Paul Atreides (Timothée Chalamet) and his journey through the treacherous landscapes of Arrakis and beyond.
All of Us Strangers, directed by Andrew Haigh, presents a story that is as thought-provoking as it is poignant.
Aquaman and the Lost Kingdom plunges audiences into the mesmerising depths of the ocean, offering a visually stunning spectacle directed by the master of horror, James Wan.
Thor: Love and Thunder is as fun as any Marvel movie can be, at the cost of developing a genuine emotional connection.
The Innocents sees a small group of kids with telekinetic powers do some horrible things.
Doctor Strange in the Multiverse of Madness is an absolutely manic yet digestible couple of hours of cinema if you can turn your brain off.
Fantastic Beasts: The Secrets of Dumbledore is a film that’s outrageously entertaining to hardcore Harry Potter fans but a confusing mess to the rest of us.
Roland Emmerich dips his toe back into the doomsday movie genre once again with Moonfall. This time the biggest disaster is the movie itself.
Tom Hardy and director Andy Serkis attempt to bring some new life to Venom in the bloated yet extremely low impact action romp, Venom: Let There Be Carnage.
With films like Independence Day (1996) and The Day After Tomorrow (2004), Roland Emmerich knows how to do disaster movies, and he knows how to do them well.
Although Edson Oda’s Nine Days features a good concept about existentialism and the decisions we make in life, the final product isn’t as good as the concepts it tackles and ends up leaving a pretentious aftertaste.
