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
NAPOLEON (2023) is Ridley Scott at his most chaotic, cheeky, and contradictory — a film that refuses to canonize its subject and instead paints Napoleon Bonaparte as equal parts military genius, political opportunist, awkward lover, and petty gremlin with a big hat. Rather than a traditional cradle-to-grave epic, Scott gives us
THE LAST DUEL is Ridley Scott’s most furious film — not loud or spectacular in the usual sense, but furious in structure, intent, and moral clarity. Adapted from Eric Jager’s historical account, the film dismantles medieval chivalry myth by myth, showing a world where power disguises itself as honor
NAVALNY is a political thriller made real — a documentary that unfolds with the urgency of a spy film and the grief of a tragedy that was never going to have a different outcome. Daniel Roher’s portrait of Alexei Navalny isn’t hagiography; it’s a record of a man
KILLERS OF THE FLOWER MOON is one of Martin Scorsese’s most devastating films — not because of its scale or violence, but because of the quiet, suffocating clarity with which it depicts complicity. There is no mystery to solve here. We know who is killing the Osage. The horror comes
CIVIL WAR is a film that stares straight into the American psyche and refuses to blink. Alex Garland doesn’t make a prediction or a warning so much as a diagnosis — a portrait of a country so fractured that the line between journalism and survival collapses. What emerges is less