Aaron Yap

Featuring one of the year’s most startling sights, it’s a delectably icky, purposefully discomforting good time.

Beneath Personal Shopper’s surface is the fluid, intuitive, hypnotic presence of Stewart.

“Indignant, thoroughly cynical and deliberately upsetting” – and now streaming nearly 50 years later.

“First Cow is almost unusually blissed-out. I’d be content staying in this world for another hour.”

Minari’s characters, images and moments come alive with breathtaking specificity.

This film is a meticulously mounted period adventure that’s good enough for you to wish it was a little better.

The Assistant might be the most unsparing portrayal of modern workplace toxicity since In The Company of Men.

Noble but frustratingly uneven attempt to revitalise stale haunted house conventions.

Should keep anyone with an appetite for bloodthirsty action satiated.

A much-needed gasp of air from tentpole franchises.

If you came for a doll saying profanities, this isn’t it.

The film is low-boil Soderbergh-lite.

This could have made for a rich, elegant, atmospheric horror flick.

Warning: this one will hurt.

May heat up your déjà vu meter, writes Aaron Yap.

It’s also Welles’ giant last-gasp fart at Hollywood, a deeply cynical meta-movie.

Gaga and Cooper ooze charisma and chemistry.

Damien Chazelle has made a stodgy, pedestrian biopic.

Aaron Yap on the prequel spin-off to the sequel.

Often when it seems like there’s nowhere for zombie movies to go, a little out-of-left-field film comes along to prove you wrong, squeezing a smidgen more life out of the genre’s exhausted conventions. Aussie epidemic pic Cargo does just that: injecting bracing, subtle layers into long-established flesh-munching lore while not completely reinventing anything. Its family-in-peril […]

It’s an earnest David vs Goliath story with no fancy outfits, geeky gadgets or elaborate team-ups.