Emilia Pérez lashes and mashes cinematic and theatrical influences, revelling in its groundbreaking awkwardness to the point that its impressive run during Awards season feels like a smash and grab. Critics may scoff, awards may fawn, audiences may well be bemused, but cinema should be glad Emilia Pérez exists.
An emotional and thought-provoking slice of cinema, Nickel Boys showcases media as much as it holds it to account. After this powerful step into a new realm, all eyes will be on RaMell Ross’s next move. The subject is horrific, but the delivery is devastating.
A beautifully realised film that’s hard to compare with anything else. Anora brings a lot of laughs but refuses to hand up easy answers. It pays back the more you invest in the characters, but mostly, keep an eye out for Mikey Madison, who chose a helluva role to arrive at Hollywood’s top table.
Conclave is dominated by masterful performances and a humdinger (if too tidy) pay-off. An Exorcist-level film advertisement for the institution, it excels at portraying the broad Catholic Church, thanks to perfectly pitched performances and Berger’s continued strides as one of European cinema’s leading explorers of morality.
Universal has chucked everything in Oz at this adaptation, and it’s paid off. It’s dripping with the fantastical splendour it needs, nodding to the stage when it can and soaring into setpieces that demand a big screen. On the whole, the cast has great chemistry, with plenty of room to sink into their fantastical characters as the musical’s first half accelerates to a show-stopping ending. Deftly directed and intensely choreographed, Wicked lives up to the hype and piles pressure on next year’s finale. That’s a long intermission at the bar.
No other place on earth may have the body count of the Coliseum, and now, in digital form, Gladiator 2 can join the list. Despite years of development, it’s just not big enough and distinctive enough to fill the arena.