This time we're critiquing the newly released Nuremberg, where Russell Crowe fills the rather large shoes of Nazi leader Herman Göring, who is on trial for a host of appalling crimes against humanity at the newly-established International Military Tribunal. Rami Malek also joins him, playing his eccentric psychiatrist, Douglas Kelley. But is the film any good? We give you the honest appraisal - the movie may be hoping for Oscars, but does it really deliver?
We critique the true history behind Will Smith's Oscar winning performance in King Richard, where he plays Richard Williams, the father and coach of tennis stars Venus and Serena Williams. We talk about the real reason the family moved to Compton, the complexity of the real people that the movie leaves out, and ask ourselves how the movie holds up against the real story.
A big announcement - we're back! In this short chat, we talk about what films we'll be covering in our exciting upcoming episodes so you can be all ready to join us. To warm up, we couldn't help but break down our picks for the BEST and WORST movies of 2025 (so far).
Gaz and Mel review one of the biggest blockbusters of 2024, the sequel to the 2000 classic, Gladiator 2. There's a monkey fight, there's a rhino battle, and they even flood the colosseum, but is the movie any good? Is Paul Mescal a good Russell Crowe replacement? How accurate is the movie to the real story? Has Ridley Scott still got the old magic? Listen now to find out.
In Springsteen: Deliver Me from Nowhere, it’s with the delicate beauty of blue-collar guilt and unspoken depression that Scott Copper paints a film so brimming with addictive humility and emotional introspection that it completely surpasses the hideously mundane insinuation that we’re due another droll rock-star biopic
Drenched in ho-hum reviews and a tepid marketing campaign, it’s worth knowing Jurassic World Rebirth is a distinctly old-fashioned slice of 90s action-adventure pie, the kind of re-watchable cinema that would be completely at home on a video store shelf next to Anaconda (1997) and Congo (1996)
23 years after establishing that zombies could not only shuffle but sprint at high speed, director Danny Boyle and writer Alex Garland return to reestablish their horror credentials by leaving behind the transitional shock of seeing normality destroyed and instead embracing the cold, wet, post-apocalyptic bleakness of British weather and flesh-hungry beasts.
It's a movie that peaks behind the curtain into the domain of a world renowned ballet company, Ballet Lermontov. Fiction of course, which is just as well as it allows its audience to escape into a world of beauty, art and heartache.
If the prospect of Len Wiseman directing and Keanu Reeves being retained in a supporting role inspires little confidence, the collaborative oversight of producer Chad Stahelski ensures that the high water mark for John Wick’s standard of visual quality is thankfully maintained.
You have to admire Wes Anderson’s steadfast artistic principles, prolific and yet wholly dedicated to a type of sly, cute, irony-laden, self-conscious aesthetic that comments on filmmaking itself as a form, as a deconstruction.
