♔

[♔ @DeweyBallantine]

BALLAD OF A SMALL PLAYER is a visually stunning, character-driven redemption story anchored by a superb Colin Farrell performance. Set against neon-drenched Macau, it blends rich Eastern cultural lore with a psychedelically-tinged supernatural ghost story. ★★★★★

[♔ @DeweyBallantine]

AFTER THE HUNT is too wordy and obtuse but it's a thought-provoking examination of cancel culture, consent and impropriety. To its detriment the film is entirely populated by thoroughly odious individuals but Julia Roberts and Andrew Garfield deliver standout performances. ★★★

[♔ @DeweyBallantine]

ROOFMAN is a thoroughly satisfying anti-hero tale whose true story inspiration defies belief. Operating successfully as a crime caper, romantic drama, and outrageous comedy, Derek Cianfrance and his cast deliver satisfying characters and plenty of laughs. ★★★★

[♔ @DeweyBallantine]

A HOUSE OF DYNAMITE is very Western-centric pressure-cooker political thriller whose impact lessens with each narrative retelling. Still, it does remain compelling throughout, and is grounded by strong performances and emphasis on the human side of political manoeuvring. ★★★★

[♔ @DeweyBallantine]

TRON: ARES is a visually and sonically stunning thrill ride. Logic gaps may frustrate causal watchers, while franchise fans might be let down by its lack of continuity. Still, the setpiece action exhilarates and it raises timely questions about identity and rise of AI. ★★★★

[♔ @DeweyBallantine]

GOOD BOY has an interesting conceit but it will likely be enjoyed more by dog lovers than by horror fans. There's a great dog acting performance and impressive visual effects given the budget, but the overall story is stretched too thin for a feature-length film. ★★★

[♔ @DeweyBallantine]

THE SMASHING MACHINE boasts compelling performances from its leads, but unfortunately the film's watchability rests solely on their charisma and star power. Incredibly slow and very repetitive, the film's worst sin is its failure to get under the skin of its main character. ★★

[♔ @DeweyBallantine]

URCHIN is a clear-eyed portrayal of the homelessness and addiction epidemics. Although the film's dreamlike sequences are somewhat discordant, Harris Dickinson proves his chops as a filmmaker, and Frank Dillane's performance as an anti-hero is fully believable. ★★★★

[♔ @DeweyBallantine]

ONE BATTLE AFTER ANOTHER tackles American themes like the radical left, white supremacy, and immigration to bombastic effect. Although some subplots are too ridiculous to believe, the film is anchored by an epic, time-spanning opening sequence and superb performances. ★★★★

[♔ @DeweyBallantine]

THE LONG WALK is a compelling Stephen King adaptation. Although it relies on tropes and has an anti-climactic ending, it depicts the worst of humanity and masculinity, and eerily commentates on today's America - all while delivering on the horrors of the basic premise. ★★★★

[♔ @DeweyBallantine]

A BIG BOLD BEAUTIFUL JOURNEY has an interesting concept but it's poorly executed. While there are some heartfelt moments with perceptive insights on love and parental relationships, they are too few and far between and ultimately undone by poor pacing and tonal dissonance. ★★

[♔ @DeweyBallantine]

STEVE spotlights silent male depression and the male mental health crisis. This Cillian Murphy character study is, at times, a breathtakingly stress-inducing pressure cooker thriller. It also features some of the most innovative cinematographic shots I've seen on film. ★★★★

[♔ @DeweyBallantine]

THE CONJURING: LAST RITES is a disappointing send-off to the Warrens. Vera Famiga and Patrick Wilson have transfixing presences and remain as captivating as ever, but their committed performances labour to move along a sluggish narrative that lacks momentum and scares. ★★

[♔ @DeweyBallantine]

CAUGHT STEALING sees Darren Aronofsky direct a comedy thriller with gleeful abandon. It's Austin Butler's show, as he heads up a dynamic call sheet. Brimming with chaotic energy, the pic seamlessly moves from sexy, funny and horrific, making for a unpredictable riot. ★★★★★

[♔ @DeweyBallantine]

HONEY DON'T! is a screwball comedy that's packed with laughs. Despite a somewhat incongruent setting and an unexpectedly abrupt ending, it's a breezy and gratuitous over-the-top thrill ride that gleefully skewers its targets and boasts charismatic lead performances. ★★★★

[♔ @DeweyBallantine]

HIGHEST 2 LOWEST falls to some numbingly low points, but it's redeemed by a few standout highs. Anchored by a reliably strong performance from Denzel Washington, the film struggles with an uneventful first half, but an action-packed climax helps bring it home on a high. ★★★

[♔ @DeweyBallantine]

ON SWIFT HORSES is a respectful period drama with appealing music, visual style and period detailing. It admirably highlights queer longing and the search for connection, but unfortunately the narrative feels too inert, while the performances lack chemistry and spark. ★★★

[♔ @DeweyBallantine]

THE ROSES is a raucous comedy elevated on-form Olivia Colman and Benedict Cumberbatch and a high-chemistry supporting cast. While the film lacks a truly satisfying resolution, it's a real crowdpleaser with savage performances and a script loaded with fiery zingers. ★★★★

[♔ @DeweyBallantine]

THE LIFE OF CHUCK is a well-crafted crowdpleaser that puts a smile of your face while leaving room for self-reflection. While it leans into artificial sentimentality, it is filled with moments of pure cinematic and nostalgic joy - that standout dance sequence! ★★★

[♔ @DeweyBallantine]

YOUNG MOTHERS is further proof that no one captures working-class realism quite like the Dardenne brothers. While one central character feels slightly underwritten, the film as a whole is a well-acted, deeply affecting and empathetic portrait of youth and parenthood. ★★★★