‘Must-see’: Why original and funny Anora is downright addictive
Showcasing an incredible new acting talent, ‘must-see’ Anora provokes genuine fascination and outright curiosity, writes Leigh Paatsch.
Leigh Paatsch
Robbie Williams biopic is a minor movie miracle – monkey and all
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.
One big problem with Lion King prequel
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.
Lord of the Rings anime prequel is only for diehard fans
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.
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‘Unsettling’: Horror sequel is no party
Smile 2 finds searingly memorable and distinctly shocking ways to improve upon its macabrely malevolent predecessor, writes Leigh Paatsch.
‘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.
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