The Front Room (2024) Review

The Front Room (2024) Review

‘The Front Room’ (2024), from Max and Sam Eggers, is devoid of anything emotionally or intellectually engaging; barely even an A24 film. Review by Kieran Judge.

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Woman of the Hour (2023) Review

Woman of the Hour (2023) Review

Anna Kendrick feature directorial debut ‘Woman of the Hour’, conveys the everyday anxiety of moving through the world as anything other than male. Review by Margaret Roarty.

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Smile 2 (2024) Review

Smile 2 (2024) Review

‘Smile 2’, Parker Finn’s sequel to the box office horror hit ‘Smile’, is one of the most astronomically dull horror films of recent times. Review by Kieran Judge.

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Salem’s Lot (2024) Review

Salem’s Lot (2024) Review

The 2024 feature film Stephen King adaptation ‘Salem’s Lot’, from writer-director Gary Dauberman, is a vampiric shell of its former self. Review by Kieran Judge.

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‘Mr Smith Goes to Washington’ at 85 – Review

‘Mr Smith Goes to Washington’ at 85 – Review

We behold the outrage of director Frank Capra, and absorb the performance of an all-time great career from James Stewart, in ‘Mr Smith Goes to Washington. Review by Bella Madge.

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The Wild Robot (2024) Review

The Wild Robot (2024) Review

Dreamworks Animation’s adaptation of Peter Brown’s children’s book, ‘The Wild Robot’ (2024), is emotional and powerful, an unmissable theatrical experience. Review by Joseph Wade.

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‘Ed Wood’ at 30 – Review

‘Ed Wood’ at 30 – Review

Loving artist portrait ‘Ed Wood’ (1994), from director Tim Burton and starring Johnny Depp and Martin Landau, isn’t deep, but there are plenty of ways to enjoy. Review by Sam Sewell-Peterson.

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Joker: Folie à Deux (2024) Review

Joker: Folie à Deux (2024) Review

Todd Phillips DC movie ‘Joker: Folie à Deux’ (2024), starring Joaquin Phoenix and Lady Gaga, is pulled in too many directions. It is boring. Review by Joseph Wade.

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Megalopolis (2024) Review

Megalopolis (2024) Review

Francis Ford Coppola passion project ‘Megalopolis’ (2024) is a failure. It is a downright unenjoyable vanity project that proves the director’s best days are behind him. Review by Jacob Davis.

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