• Blade Runner 2049 is bold, challenging cinema, an almost Biblical success; like Terence Malick’s The Tree of Life, Martin Scorsese’s Silence, and Nolan’s Interstellar, it positively demands multiple viewings.

  • Tom Cruise is at his charming best in this incredible real-life tale of greedy Americans confronting Pablo Escobar’s Medellin Cartel. It’s like Narcos meets Breaking Bad.

  • Muschietti has made one of the best horror movies of the year. It’s funny and warm and touching and frightening and profane and profound. It’s a terrific set-up to what is going to be a restlessly-anticipated Chapter 2.

    It floats. You’ll float too.

  • At 85 minutes long, it doesn’t really overstay its welcome, but it kinda invited itself anyway.

  • One of the worst adaptations of Stephen King’s works; even Matthew McConaughey and Idris Elba’s talents aren’t enough to save it from collapsing.

  • While Annabelle: Creation is by no means a perfect film, and nor is Sandberg the best director currently working in the genre – he doesn’t, for instance, have the sixth sense of a M Night Shyamalan or Fede Alvarez (Don’t Breathe, represent) – he has made a film that’s a vast improvement over its predecessor, and I would go so far to say, even the two Conjuring movies.

  • in the hands of David Leitch, one-half of the team that brought us John Wick, it’s a film that has one of the best action scenes of the last decade. Not even exaggerating. The scene arrives a little after an hour into the movie, and without a shadow of doubt, is worth the price of admission alone.

  • Dare I say it, even Imtiaz Ali’s Highway, which has one of the most colossally misguided tones – and third acts – in recent memory, managed to convey the slow psychological paradox of being in a relationship with your kidnapper more palatable.

  • Luc Besson’s new film is one of those legendary box office bombs – the sort of film that’s written about for years to come, and spoken about only in hushed tones.

  • One of the finest blockbuster trilogies comes to a thrilling, sombre conclusion, thanks to Matt Reeves direction, and Andy Serkis’ great performance.

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