Turning global pop star Robbie Williams into a CGI monkey could have backfired spectacularly but it actually turns Better Man into a musical biopic that’s a cut about the rest, writes Leigh Paatsch.
The animals and action look incredible and Lin-Manuel Miranda’s songs are just fine, but there is something a bit too familiar about Mufasa: The Lion King.
The anime style gives the action punch, but Lord of the Rings prequel The War Of the Rohirrim is too long and talky for all but the most diehard of Tolkien fans, writes Leigh Paatsch.
Never mind the regular documentary, the Lego-inspired “blockumentary” Piece By Piece is the perfect way to capture the essence of hit-maker Pharrell Williams, writes Leigh Paatsch.
Some lively language and shrewdly relevant commentary makes Wicked Little Letters quite a spicily satisfactory affair, writes Leigh Paatsch.
A performer of Sir Michael Caine’s elevated standing could not have landed upon a more apt – nor affecting – role with which to bid audiences farewell, writes Leigh Paatsch.
Movies executed on the sprawling, daunting scale of Dune: Part Two don’t come along every day, writes Leigh Paatsch.
The Zone of Interest is destined to be regarded as one of the most powerful, provocative and lastingly eloquent statements on the Holocaust to ever grace a cinema, writes Leigh Paatsch.
The first superhero movie of 2024 suffers from a lack of original ideas and an unrelenting lack of energy from the cast, writes Leigh Paatsch.
Eric Bana returns as federal cop Aaron Falk in the long-awaited sequel The Dry, Force of Nature, but the film is a far cry from the original hit, writes Leigh Paatsch.
Audiences may never get to see Henry Cavill play 007, but his take on a James Bond-ish spy in Argylle is a rollicking ride, writes Leigh Paatsch.
Enigmatic, confronting, touching, testing and sometimes even amusing, Anatomy of a Fall is the first great movie of 2024, writes Leigh Paatsch.
Professional wrestling may be the fakest thing in the world of sports but The Iron Claw never feels less than real, writes Leigh Paatsch.
With Paul Giamatti at the peak of his oratory powers, The Holdovers is full of deep feeling, great humour and refreshing authenticity, writes Leigh Paatsch.
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