For a film about a punk wheeler-dealer sensibility to music promotion and a climax centred around the chaos of organising a heavy metal show, Dave McLean’s Schemers has more in common with MOR.
Weathering with You is an absolute mess. An often visually astonishing and idiosyncratic mess, but an absolute mess nonetheless.
If you can vibe with its earnest absurdism and sorta-intentional badness, Jesus Shows You the Way to the Highway is a hell of a trip.
The King of Staten Island is exhausting and not in the way that Judd Apatow & Pete Davidson likely intended it to be.
TENET is a smug, dull, headache-inducing load of sound and fury signifying sod all.
Despite suffering from the same identity insecurities as Late Night, The High Note ultimately succeeds as escapist comfort on the strength of its impeccable cast.
Whilst it could’ve done with more discussion about the games themselves, Pretending I’m a Superman is a surprisingly solid documentary about the Tony Hawk series’ impact on pop and skater culture.
Whilst it suffers mightily from comparisons to The Miseducation of Cameron Post, Yes, God, Yes at least displays promise for first-time director Karen Maine and is carried by star Natalia Dyer.
Claire Oakley’s debut feature is a stylish calling card of promise, but lacks lasting substance.
British cinema literally releases dozens of films exactly like Military Wives every single year. There is no reason to actively seek it out.