The Roses isn’t thorny enough for its scent to linger as Olivia Coleman and Benedict Cumberbatch go to war in The Roses.
Author: Prabhjot Bains
Relay quickly turns into the very kind of film its countercultural 70s influences rebelled against.
Thunderbolts* feels stunted by the limitations levied by its shared universe where any new lens is obfuscated by the mold it’s forced to fit into.
Until Dawn unfolds as an effective and economic slice of horror, often playing as a greatest hits compilation of its source material.
Not only does Opus draw too much from the drying well of an increasingly tired horror concept but lacks the bite to make the venture worthwhile.
Heart Eyes (2025) knows how to keep love in the air while splattering heaps of blood on the ground.
Flight Risk wastes no time in clipping its own wings, unfolding not only as a flightless exercise in tedium but a sorely missed opportunity.
For all it does well, it’s a shame that almost every frame of Wicked feels like it was designed by committee rather than with hand-crafted care.