FIRST REFORMED is Paul Schrader at his most severe — a film that doesn’t argue its ideas so much as corner you with them. It’s less a drama than a vigil, stripped of comfort, stripped of ornament, stripped of the illusion that faith is meant to make life easier.
GOODFELLAS is Martin Scorsese at his most electric — a film that doesn’t just depict the American mob but immerses you in its rhythm, seduction, and eventual rot. It’s less a crime drama than a fever dream told by someone who lived fast enough to outrun the consequences… until
WILD TALES (RELATOS SALVAJES) is not a film about violence so much as it is a film about permission. Permission to snap, to retaliate, to stop performing civility when the social contract has already been broken—quietly, repeatedly, and with a stamp. Damián Szifron’s 2014 anthology doesn’t ask
GHOSTS OF BEIRUT is a geopolitical thriller wrapped in documentary skin, a series that blurs biography with espionage reconstruction until the whole thing feels like a haunted dossier. It’s stylish, cerebral, and uncomfortably intimate — a show obsessed not with firefights or bravado, but with the slow, invisible machinery of
NUREMBERG is a historical drama wrapped in prestige gloss, but beneath its immaculate surface is a film wrestling with a simple truth: we’ve been here before. The Holocaust has shaped some of cinema’s most devastating work, and any new entry into this terrain arrives with an impossible weight.
KILLING EVE is what happens when a spy thriller gets drunk on its own potential and decides to flirt, stab, seduce, reinvent itself, and then smirk at you while it burns the rulebook. Phoebe Waller-Bridge’s first season doesn’t just subvert the cat-and-mouse genre — it turns the whole dynamic
Some films announce themselves with force, and some slip in like a stranger sitting next to you on a train — unassuming at first, and then strangely impossible to shake. RENTAL FAMILY is the latter. It’s not loud, not aggressively quirky, not engineered for prestige season the way most actor-centric
MOBLAND is the kind of crime series that walks into the room wearing a perfectly tailored suit, orders a whiskey neat, and refuses to admit it’s recycling the same stories its uncles told twenty years ago. And yet — you watch it anyway, because the swagger is irresistible. Ronan Bennett
DUNE: PART TWO is Denis Villeneuve’s leap from prophecy to consequence — a film that takes the austere worldbuilding of Part One and detonates it into something operatic, furious, and morally shattering. Where the first installment was all anticipation, this is the reckoning: the moment Paul Atreides stops being a
DUNE: PART ONE is Denis Villeneuve’s attempt to turn a famously “unfilmable” novel into myth — not by simplifying Frank Herbert’s universe, but by rendering it with the gravity of scripture. The result is a sweeping, hypnotic epic that treats science fiction as prophecy rather than spectacle. Villeneuve doesn’
BOY SWALLOWS UNIVERSE is a soaring, bruised, big-hearted adaptation — a coming-of-age story that balances magic and misery with an emotional precision few series ever manage. Based on Trent Dalton’s beloved novel, the show captures the wild contradictions of 1980s Brisbane: violence and tenderness, crime and innocence, trauma and hope,
GLADIATOR is Ridley Scott’s grand return to the ancient epic — but what makes it endure isn’t the scale, the spectacle, or even the coliseum itself. It’s the film’s emotional architecture: a revenge tragedy wrapped in myth, executed with modern ferocity and classical restraint. Scott resurrects Rome