Prey review: Predator prequel is an anti-colonial allegory wrapped in one lean and mean thriller
Amber Midthunder takes down trespassers, both European and extra-terrestrial, in the strongest entry of the Predator franchise since the 1987 original.
Catherine Called Birdy review: Bella Ramsey lends Lena Dunham’s coming-of-age romp a rebel spirit
Bella Ramsey is delightful as a young girl ahead of her time in Lena Dunham’s effervescent adaptation of Karen Cushman’s novel.
Don’t Worry Darling review: Florence Pugh comes out as sole survivor in this car crash of a movie
Florence Pugh delivers another strong performance, but even she can’t steer the misfiring Don’t Worry Darling into a perceptive psychodrama.
How Nope composer Michael Abels' score sucks viewers into Jordan Peele's UFO nightmare
Michael Abels’ score is so instrumental to the triumphs of Nope, the film remains a spectacle to behold even with eyes closed.
The Bear: Entropy in a restaurant kitchen
The atmosphere in a restaurant kitchen may feel like a powder keg waiting to go off. But The Bear never forgets that art is order born out of chaos, the flavoursome delights that can still be cooked up by clashing personalities, often nursing overwhelming anxieties.
Nope, true crime and the spectacle of trauma in the age of commodification
In Nope, Peele posits this age of smartphones, social media and surveillance states has warped how we respond to trauma. Instead of processing it through therapeutic outlets, we flatten it into consumable spectacles.
Andor: Star Wars series lets go of Skywalker baggage — and is all the better for it
Andor is still Star Wars, but it doesn’t feel overly regulated by the franchise’s rulebook. Not being tied to all the Skywalker baggage allows the show to flex its muscles a little, just when the franchise had started to atrophy.
X movie review: Ti West’s slasher stalks the borders between horror movies and pornos for fresh targets
Mia Goth's dual role proves to be the X-factor in Ti West's ode to low-budget filmmaking of all stripes.
Everything Everywhere All At Once movie review: Michelle Yeoh in the multiverse of madness
The Daniels take us on a freewheeling adventure where metaphysics and martial arts don’t exactly make for the strangest bedfellows.
Pinocchio review: Disney’s live-action take on animated classic is wooden and lifeless
Disney’s live-action Pinocchio comes with strings attached — in more ways than one.
Men movie review: Symbolism and literalism vie for control in Alex Garland’s horror freakout
Alex Garland’s third feature, Men, is a glossy but garbled horror movie about the waking nightmare of misogyny.
The Lord of the Rings: The Rings of Power is a welcome return to Middle-earth
First impression of the most expensive show ever made: The Rings of Power, Amazon's LOTR prequel of sorts.
Kim Ki-young’s The Housemaid and constructing a class parable via architecture
Kim Ki-young’s landmark 1960 South Korean drama The Housemaid, which influenced Bong Joon-ho’s Parasite formally and thematically, is now available for streaming on MUBI.
The Rehearsal review: Reality TV, social experiment, autocritique rolled into one
The Rehearsal not only acts as its own criticism, but also Fielder’s previous work on Nathan for You.
Streamlined | Evil, on Voot Select, achieves that rare, elusive horror-comedy alchemy
Evil, streaming on Voot Select, is the best horror series you are probably not watching, but should be.
House of the Dragon review: Game of Thrones saga continues with more fire and blood
The Targaryens play their own game of thrones, full of dynastic infighting, court intrigue and power plays, in this homecoming to Westeros.
She-Hulk: Attorney at Law season premiere: Tatiana Maslany makes a strong case to adjourn quick judgments
She-Hulk: Attorney at Law arrives with a clear purpose, if not swagger, keen on establishing its own place in the long and convoluted mythology of the MCU.
Raised by Wolves review: Richly imagined sci-fi allegory about parenting in the time of war and dogmatism
Raised by Wolves may have a lot of big Ideas on its mainframe, but it also has a human pulse.
Peacemaker review: The Suicide Squad spin-off is a hair-metal mosh pit of an anti-superhero series
Being a critique of jingoism and machoism filtered through the comic book form, the show inhabits the same morally nebulous realm as The Boys.
Day Shift review: Jamie Foxx's vampire flick is another (un)dead-on-arrival Netflix original
Netflix’s new vampire action comedy has the stench of something that has been rotting in a coffin and hasn't been exposed to sunlight for way too long.