REVIEWS

X transports viewers to 1970s Texas in a bloody homage to classic slashers that offers prolific visuals and a breakout lead performance

Matt Reeves brings the iconic vigilante back to his detective roots, untethering a web of gripping enigmas in a masterful interpretation.

Morbius is one of the worst comic book films ever made; an inconsistent, meaningless venture that isn't even ironically enjoyable.

Jackass' final chapter gives emotional weight to the antics performed, bringing drama and nostalgia to an already extravagant stunt show.

Deep Water never rises to its heralded greatness, maintaining a feeble plot and dreary pace that not even Ben Affleck can save.

Pixar tackles puberty in this excitable coming-of-age tale that opts to focus on empathy rather than antics.

Licorice Pizza isn't afraid to be itself, taking a slice right out of the 70's in an affectionate, timeless, coming-of-age love story.

Peacemaker may take a bit to get going, but the slowburn is more than worth it as comical and sensitive scenes depict John Cena at his best.

Day and Slate are harmonious and hilarious in I Want You Back, a subversive rom-com that tries to escape the stigma of being so-so.

King Richard is completely carried by Will Smith's authentic performance, all while the rest of it serves up nothing but untapped potential.

CODA is a bona fide people-pleaser, prospering because of its formulaic structure rather than despite it.

Narcissism is the theme of this audacious indie film which takes several risky steps to produce an unconventional, brutally-honest dramedy.

Afterlife may heavily rely on nostalgia, but its kept alive courtesy of well-written characters and superb direction from Jason Reitman.

Ambiguous subtext is a double-edged sword for Del Toro's Nightmare Alley, a neo-noir which showcases the panache and languor of life.

Scream slashes all expectations to deliver the series' best film to date, mixing old and new in a fun, though predictable, horror.

House of Gucci is all style and no substance, only being saved by the swanky performances delivered by Lady Gaga and Al Pacino.

The ham-fisted references may feel self-congratulatory, but No Way Home earns it all through a well-paced mixture of humour and heartache.

The Lost Daughter grasps the importance of character development, but fails to understand the meaning of "superfluousness"

McKay's satirical doomsday comedy, despite feeling disjointed, achieves greatness through simplicity by being unafraid to speak its mind.

A rising star and magical sceneries are enough to warrant putting A Boy Called Christmas on your list this festive season.