From vividly immersive world-building to an instantly investing tale, what Wicked does well, it does very impressively indeed – but it helps if you love movie musicals of all shapes and sizes, writes Leigh Paatsch.
Audiences have been baying for a sequel to Ridley Scott’s Oscar-winning sword and sandals classic for more than two decades – but is it worth the wait?
The extraordinary journey of Aussie tennis prodigy Jelena Dokic in suffering under and standing up to her tyrant coach father is as heartbreaking as it is inspiring, writes Leigh Paatsch.
Saturday Night reveals the first steps leading to the giant strides of sketch show SNL, while the uneven Venom: Last Dance asks whether we needed a Venom saga at all. writes Leigh Paatsch.
Smile 2 finds searingly memorable and distinctly shocking ways to improve upon its macabrely malevolent predecessor, writes Leigh Paatsch.
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.
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.
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.
Look past that ungainly name and see something special in the warm and witty feel-good My Old Ass, writes Leigh Paatsch.
The engagingly entertaining The Wild Robot is in instant-classic territory, writes Leigh Paatsch.
Disturbing yet funny, you can’t tell whether Speak No Evil has been designed to charm you or choke you, writes Leigh Paatsch.
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.
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