Phoebe Andrews dissects ‘The Monkey’, A bizarre horror-comedy that mixes absurd gore with twisted humour.
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Antonella Perna reviews Netflix’s Griselda, considering its compelling performance and feminist addition to the ongoing trend of drug cartel dramas.
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Zandie Howells discusses the common trope of the isolated place in horror films, and how the rules of horror have been bent and shaped by different settings.
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Anna Jones discusses the irony and misogyny surrounding Barbie’s Oscar nominations.
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Maximus Woodley praises the self-referential elements of Disney’s Wish as a 100th Anniversary film, but notes the otherwise disappointing lack of intriguing content.
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Betsy Heasman has much praise for Emerald Fennell’s disturbing comedy thriller, especially praising the instinctive but intriguing revulsion prompted by the film’s content.
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Eloise Grainger discusses the highly anticipated Hunger Games prequel, noting the particular loyalty to the source material, and the fantastic audience response.
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Riona McLoughlin discusses new dystopian sci-fi The Creator, noting the incredible detail of the visual effects and the fantastic performances from the cast.
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Jess Cadogan provides a whistle-stop tour of this month’s big releases, including A24’s much-anticipated now Oscar-nominated The Whale
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Jake Avery finds that while The Menu provides high-octane moments of tension, it feels a tad undernourished in terms of emotional engagement
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Lisette Reed declares Rian Johnson’s Glass Onion a must watch for all, lavishing praise on the cast, storytelling and direction.
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James Cameron’s long-awaited sequel is an enchanting, emotional rollercoaster, writes Madi Wharmby
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In light of Jordan Peele calling Daniel Kaluuya his “De Niro”, Matthew Bowden examines five creatively fruitful acting/director partnerships
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Jess Cadogan admires the visual and narrative splendour of Luca Guadagnino’s latest romantic feature Bones and All
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