American director Robert Eggers has stated that the “more you try to turn away from darkness, the more darkness is right against your back.” In Nosferatu, Eggers extraordinary resurrection of FW Murnau’s 1922 silent classic, darkness shines like the day. You cannot run or hide from it. You must succumb to the darkness.
Sean Baker’s Anora, which won the Palme D’or at Cannes, the first American film to do so since Terrence Malick’s Tree of Life, may remind audiences of Pretty Woman. But it’s more subversive and explicit take on the subject of sex work.
Christine Jeffs returns after a 16-year hiatus with a thoughtful film that addresses accountability, responsibility, transparency, bureaucracy and humanity. And it was shot in Auckland!
Twisters: A Heart-Stopping Blockbuster That Will Blow You Away.
The Strangers: Chapter 1—Another Hollywood Reboot No One Asked For!
Shazam! Fury of The Gods is a family-oriented superhero film by director David F. Sandberg that delivers a sugar-high of CGI fantasy, cultural references, and semi-cringe cameos.
The Ice Road is a slow-burn action-thriller written and directed by Jonathan Hensleigh, set on the treacherous ice roads of Manitoba, Canada. It arrives with a solid cast and enough middle-of-the-road action enjoyment to haul the audience across the film’s 109-minute finish line without sinking under the weight of its story.
The Godmother, also known as Mama Weed and La Daronne, is a light crime-dramedy from France, starring Isabelle Huppert as a police interpreter whose compassion drives her head-first into an ever-escalating drug empire.
Sandwiched somewhere between the best and worst of Black Mirror and the terrifyingly prophetic Idiocracy, the grim satire of Lapsis works well, elevating a low-budget premise into a performance-driven sci-fi mystery.
Son of The South opens with a limp-footed, bloodied Bob Zellner (Lucas Till) dragged toward a noose while he summarises the climate of racial hatred in 1960s Alabama through an emotionless voiceover.