Atlas (2024)
Jennifer Lopez goes to war with artificial intelligence inside a talking mech, in a Netflix action picture the critics have written off and I had a much better time with than they did. 8/10.
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Furiosa - A Mad Max Saga (2024)
George Miller goes back to fill in the wasteland that made Furiosa, trading the single-chase purity of Fury Road for forty years of myth. Slower, stranger and grander, and a better film than the cooler reviews allow. 8.5/10.
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Kingdom of the Planet of the Apes (2024)
A new generation takes over the rebooted Apes saga, trading Caesar's grief for a younger ape's coming of age. The world-building survives the handover and the spectacle is first-rate. 8/10.
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The Fall Guy (2024)
A stuntman turned reluctant detective in David Leitch's love letter to the people who actually take the falls. Light on plot, heavy on charm, and one of the most purely enjoyable action films of the year. 8/10.
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Civil War (2024)
Alex Garland points his camera at a fractured America and follows the photographers rather than the politics. Tense, beautifully shot, and deliberately uncomfortable, even if it keeps its cards close. 8/10.
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Dune - Part Two (2024)
Villeneuve finishes what the first film only set up, turning Herbert's desert prophecy into the rare second part that outgrows its opening. Vast, deliberate and properly cinematic. 9/10.
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Godzilla Minus One (2023)
Toho sends Godzilla home to ruined post-war Japan, and builds a human drama strong enough to carry the monster. The most affecting entry the series has produced in decades. 8.5/10.
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Napoleon (2023)
Ridley Scott takes on the most filmed man in Europe and gives us cannon smoke, a strange marriage, and a hero held at arm's length. Spectacular and oddly cold, it is better than the splat suggests. 7.5/10.
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The Creator (2023)
Gareth Edwards builds a war between humanity and artificial intelligence that looks like a 200 million dollar epic and reportedly cost a fifth of that. The story is borrowed, the world is not, and the texture is the reason to go. 8/10.
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Oppenheimer (2023)
Christopher Nolan trades spectacle for a three-hour conversation and a courtroom, and turns the building of the bomb into the best film he has made. 8.5/10.
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