A personal review of The Sheep Detectives — a woolly murder mystery about memory and grief, written the week of a family funeral.
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Milly Alcock and Rachel Zegler got the same treatment: praised on screen, blamed for everything off it. A look at the formula behind female-led hate campaigns.
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Modern audiences would rather be briefed than unsettled. On lore, explainer culture, and why horror dies the moment you hand the audience a map.
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A film critic who never cries went in to prove Dear You wouldn't get her. A rainbow cookie had other plans. On tearjerkers, defences, and losing.
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A Cannes premiere and a Singapore firestorm. But does Dear You actually earn its emotional payoff, or just tug the easy heartstrings?
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Curry Barker's horror runs on the oldest story there is, so why does it land now? Because it knows precisely who's watching.
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What a Backrooms screening taught me about Gen Alpha, streamer culture, and the slow death of cinema etiquette.
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Avatar: Fire and Ash proves that these movies aren't just spectacle but about pushing the limits of what blockbuster storytelling can do.
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Predator: Badlands, the latest reinvention from Dan Trachtenberg, might be the best argument for what this franchise should have been all along.
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Dr. Matthew Yap argues that Paul Greengrass' The Lost Bus is modern manhood and fatherhood under duress, but it is neither fragile nor toxic.
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Netflix's K-Pop Demon Hunters was a niche passion project that turned into a global phenomenon — how did it happen?
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After 12 years, 10 features, 8 spinoffs, and one very tired demon nun, just how did it all go horribly wrong with The Conjuring franchise?
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Here's everything that F1 gets right and wrong about the sport.
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Read the first article in our series that explores the pivotal role that Superman has played in our popular culture.
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Why did Mickey 17, an imaginative, original, sci-fi offering from Bong Joon-ho, fail to achieve the box office success it deserved.
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How long is too long of a movie? At what point does an extended runtime enhance storytelling rather than simply test the audience's patience?
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In this edition of Chick-Film-A, Sue Ann finds lessons about life and love in Bridget Jones: Mad About the Boy.
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Mohnish Rajakumaran makes the case for why he thinks young people need to immerse themselves in Hirokazu Kore-eda's Maborosi.
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Ten years later, the less-than-great steamy success of 50 Shades has created its own subsection of films and TV.
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Dr. Matthew Yap looks to Woman of the Hour and Late Night with the Devil to explain our fascination and anxiety with Reality TV.
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