Tony Stamp

For much of its running time, Shudder’s new horror movie is predictable but functional.

The latest season of the hit anthology crime series more than delivers the goods.

Tony Stamp finds out more about the game’s gorgeous cinematic feel.

It’s infectiously good fun to join him on numerous harebrained adventures.

Story-wise it ain’t much, but it’s all just an excuse to watch celebrities squirm.

Although, like many Netflix offerings, it can feel inconsequential.

Apart from a few interesting wrinkles, this finale is business as usual

“You’re watching a man fall apart, but jeez, what a doofus.”

“She’s such a formidable artist.”

This second instalment leans even further into the silliness.

A lot of people die, and you may chuckle a bit along the way.

It’s downright weird.

James Wan throws everything at the wall.

Engrossing, thought-provoking, and well worth your time.

This isn’t arthouse fare. It’s a broad crowd-pleaser.

The music swells, the actors emote, but you won’t feel a thing.

The problems start from scene one, writes Tony Stamp.

An attempt to marry a crime thriller with an ensemble comedy, it succeeds mainly due to a pleasantly convoluted script by Mark Perez.

While the parallels Del Toro is drawing will be too clunky for some, the film’s huge heart and good intentions are always on display.

The Commuter doesn’t reinvent the wheel, but it’s a solid enough thriller, writes Tony Stamp.

It’s a fairly pleasant little excursion, albeit as inconsequential as a puff of (campfire) smoke.