‘Nightmare’: New Snow White gets everything wrong
There’s something not quite right from the get-go in Disney’s woefully underwhelming attempt to revive a classic fairytale, writes Leigh Paatsch.
Leigh Paatsch
Double De Niro delivers in what could be his mobster swan song
If The Alto Knights is the last time Robert De Niro plays a mobster, it would be a fitting farewell to a genre he has dominated for decades, writes Leigh Paatsch.
Blanchett brilliant in superb, snappy spy thriller
Fans of Slow Horses will love Steven Soderbergh’s smart and sophisticated spy thriller with Cate Blanchett and Michael Fassbender, writes Leigh Paatsch.
Bonkers: why Robert Pattinson’s Mickey 17 is a hot mess
After winning an Oscar for Parasite, big things were expected for director Bong Joon Ho’s next movie but his big swing with Robert Pattinson doesn’t quite connect, writes Leigh Paatsch.
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‘Fascinating’: GoT star thrives in kooky comedy
While odd-couple crime comedy Brothers might have benefited from a leaner, meaner approach, it snaps into shape thanks to Josh Brolin and Peter Dinklage, writes Leigh Paatsch.
‘Compelling’: How biopic tackles Trump enigma
No movie could stand a chance of decoding the all-bamboozling enigma that is Donald Trump – but The Apprentice achieves some success, writes Leigh Paatsch.
Why Joker sequel is greatest folly of 2024
Five years since promising there would be no sequel to The Joker, Todd Phillips has delivered one – and it comes as no surprise Joker: Folie a Deux is a folly and worse, writes Leigh Paatsch.
Why feel-good movie is better than name suggests
Look past that ungainly name and see something special in the warm and witty feel-good My Old Ass, writes Leigh Paatsch.
Why The Wild Robot will be a family hit
The engagingly entertaining The Wild Robot is in instant-classic territory, writes Leigh Paatsch.
‘Unnerving’: Why pulp thriller leaves a lasting zing
Disturbing yet funny, you can’t tell whether Speak No Evil has been designed to charm you or choke you, writes Leigh Paatsch.
Why Keaton is only saving (dis)grace for average sequel
Despite Michael Keaton having the time of his afterlife, there’s not enough of his coffin-tipping high-jinks to carry Beetlejuice Beetlejuice to greatness, writes Leigh Paatsch.
Why The Crow reboot is an insult to original
With neither the damaging energy nor the distinctive look of its predecessor, The Crow reboot has little chance of any afterlife sequel-wise, writes Leigh Paatsch.
Channing Tatum adds money, mystique and muscle to thriller
Channing Tatum and Zoe Kravitz turn up the levels of mysterious malevolence in thought-provoking psychological thriller, writes Leigh Paatsch.
Why new Alien movie is truly terrifying
The latest Alien film is not a sequel-ish reboot. It really is a terrifying addition to the franchise, writes Leigh Paatsch.
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