Wright’s over-the-top, parodic, buddy cop action-comedy is ‘pop’ confetti cinema in pleasing, anything-goes mode, as a police sergeant reassigned to a sleepy countryside town must contend with a spate of gruesome murders.
The iconic duo return in another rollickingly amusing adventure as they must clear their name after being framed for crimes they didn’t commit, rendered in the tactile, almost corporeal stop-motion quality that Aardman has been reliably producing for decades.
Ralph Fiennes is exceptional as a cardinal who must oversee the selection of a new Pope as skeletons in the closet threaten to derail the voting process, in Berger’s taut ‘mystery-thriller’ that some might feel too highly calibrated in its storytelling.
Blending concert scenes, comedy and thriller modes, this is a largely rapturous dramatisation of the rise of the Belfast-based hip-hop group as they seek to reclaim the Irish language from the oppressive British authorities.
While sometimes too overreliant on its non-linear storytelling, this serviceable rehabilitation drama boasts stunning scenes of the Orkney Islands, as Saoirse Ronan captures all of the fury and sensitivity of her character trying to liberate herself from alcoholism.
Lanthimos’ weakest work since ‘Alps’ is an uneven if morbid triptych of stories that operate as playful, nihilistic exercises at best, led by Cannes Best Actor winner Jesse Plemons and Emma Stone.
Glass’ sophomore feature is tense, stylish, violent, sexy and takes some artistic risks, headlined by an excellent Kristen Stewart playing a gym manager who falls in love with a female bodybuilder in a drugs-and-guns-infested small town.
Possibly one of the finest ‘body horror’ films of the post-2000s era, Fargeat’s sophomore film takes on sexism and ageism in the entertainment industry with a middle finger so pointed that the violence and gore become saliently and nihilistically rewarding.
A ‘Before Sunrise’-esque gay drama shot with natural realism that brings genuine emotions of honesty, desire and affection to the fore.
Reductively thought of as a ‘filmed opera’, Powell and Pressburger’s still underappreciated work of marvellous artifice and performative artistry tells of three tales of a poet who has no luck with the women he falls in love with.
Eternality Tan 