Just as the sun rarely sets in this place, Midsommar wears its audience down like they’ve been strapped under a giant heat lamp.
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Just when it looks like Happy Death Day 2U may run the risk of literally repeating itself, the screenplay flips the formula on its head and takes us to uncharted territory.
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In cinema one of the most engaging of elements is a filmmakers ability to provoke, to entice conversation, and have several likeminded people find themselves miles apart in their own interpretation of art, how we can all watch the same thing and yet each seem to watch something so different to the next. In that regard, Darren Aronofsky’s mother! is an astounding triumph, as a feature we can all attempt to decipher and deconstruct and yet seemingly get no closer to being ‘right ‘ for where…
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There is a torturous, biting audio that surrounds Yorgos Lanthimos latest surreal picture, The Killing of a Sacred Deer. It drones on from scene to scene, sometimes leaving completely, but lurking alongside the visual, ready to add that piercing sonic climax.

We follow cardiologist Steven Murphy (Colin Farrell in full black comedy form, wearing a survivalist beard) as he navigates life or death karma in the form of deranged teenager, Martin (Barry Keoghan). He’s polite and friendly…
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The Lighthouse is a riddle, wrapped in a mystery, inside an enigma.
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With echoes of Kubrick, Nolan, and even Malick, Ad Astra is a film that reaches for the stars in more ways than one.
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Just as the sun rarely sets in this place, Midsommar wears its audience down like they’ve been strapped under a giant heat lamp.
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Annabelle Comes Home delivers what audiences have come to expect and longtime fans of this franchise likely won’t be disappointed.
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