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.
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.
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 and Zoe Kravitz turn up the levels of mysterious malevolence in thought-provoking psychological thriller, writes Leigh Paatsch.
The latest Alien film is not a sequel-ish reboot. It really is a terrifying addition to the franchise, writes Leigh Paatsch.
Josh Hartnett flips between goofy and sinister as a serial killer dad in Sixth Sense director M. Night Shyamalan’s latest trashy, twisty-turny thriller, Trap.
From a true-ish WWII tale turned into a fun action romp, to an inspirational sporting story and a gorgeous looking romance, Leigh Paatsch reviews top streaming movies.
While Fly Me To the Moon does not always take the most direct or smooth route, an excellent lead pairing of Scarlett Johansson and Channing Tatum never falters, writes Leigh Paatsch.
It may be a reboot of a ’90s classic, but Twisters’ weather at its worst owns every single centimetre of the big screen. There’s just one thing missing, writes Leigh Paatsch.
Not since Brad Pitt slunk into view in Thelma & Louise has the camera loved anyone as much as Austin Butler, writes Leigh Paatsch.
Documentary reveals why the world bought into power, passion and political values of Midnight Oil, writes Leigh Paatsch.
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