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.
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.
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.
Despicable Me 4 proves the adventures of Gru and his ever-expanding entourage won’t be getting old any time soon, writes Leigh Paatsch.
Hit Man, starring Top Gun and Anyone But You’s Glen Powell, is on target to be one of the best movies of 2024, writes Leigh Paatsch.
Bickering-buddies bond saves fourth Bad Boys movie from wearing out its welcome, while a light comedy gets female friendship right, writes Leigh Paatsch.
The Garfield Movie attempts something new before losing its way, while JLo struggles with AI in sci-fi with more action than science, writes Leigh Paatsch.
With a lot of crazy stunts and a miscast Chris Hemsworth, Furiosa is better than most action films but it can’t match the dizzy heights of its predecessor, writes Leigh Paatsch.
An all-ages audience with an original story is rare in this day and age, but the star-studded cast can’t save this well-intentioned flick, writes Leigh Paatsch.
It’s packed full of cameos from his celebrity pals. But Jerry Seinfeld’s ode to cereal still fails to snap, crackle and pop, writes Leigh Paatsch.
Anne Hathaway fits flawlessly with Nicholas Galitzine in a movie version which adds emotional depth to a winning story, writes Leigh Paatsch.
Despite spectacular stunts and romantic fireworks, the Aussie-filmed The Fall Guy is flawed, writes Leigh Paatsch.
Both a great sports movie and unconventionally riveting romantic drama, Challengers volleys the audience back and forth to reveal what is riding on a tennis match, writes Leigh Paatsch.
Marisa Abela’s portrayal of Amy Winehouse elevates new biopic Back to Black to the next level, writes Leigh Paatsch.
A-listers such as Scarlett Johansson and Tom Hanks fall over themselves to work with director Wes Anderson – and his latest comedy Asteroid City shows why.
Simple but very effective, a low-budget Australian horror film by two Adelaide brothers has already made a big impact at the US box office. See review.
Christopher Nolan’s biopic Oppenheimer shows the great heights that cinema can hit and all but assures an Oscar for leading man Cillian Murphy.
After months of hype and unprecedented levels of pinkness, Margot Robbie’s Barbie movie is finally here. But it’s definitely not for kids. See review.
It’s hard to keep a horror franchise down, and the long-running Insidious comes back from the dead with The Red Door.
With mind-boggling stunts and awe-inspiring action, Leigh Paatsch looks at whether the latest installment of Mission: Impossible franchise will appease its loyal fanbase.
The punches don’t always land, but Indiana Jones and the Dial of Destiny gets the whipcracking archaeologist’s last ride right by letting Harrison Ford act his age, writes Leigh Paatsch.
Jennifer Lawrence shows surprising comic timing and a willingness to throw herself ‘under the bus’ in No Hard Feelings, writes Leigh Paatsch.
Despite a bonkers collection of cameos, The Flash movie is overconfident, writes Leigh Paatsch. Read full review.
Into the Spider-Verse laid claim to being one of the best animated movies ever and kicked off the multiverse craze. Its sequel goes even further.
Indiana Jones, Barbie, Spider-Man and Tom Cruise are all set to turn up the heat in Australian cinemas this winter. Leigh Paatsch reveals the new releases on the way.
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