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Two lists that know where things are streaming, collections you can share, your own score beside ours, and Discover that remembers what you have seen.
SoonUS date TBC · out elsewhere since April 2025
SoonUS date TBC · out elsewhere since November 2025
SoonUS date TBC · out elsewhere since November 2025
SoonUS date TBC · out elsewhere since December 2025
SoonUS date TBC · out elsewhere since December 2025
SoonUS date TBC · out elsewhere since 15 January
SoonUS date TBC · out elsewhere since 13 May
SoonUS date TBC · out elsewhere since 28 May
Released where you are; our review lands once the critics have had their say, usually within two days.
Review pendingOut here since 17 October 2026 · review to follow
Review pendingOut here since 17 October 2026 · review to follow
Review pendingOut here since 16 October 2026 · review to follow
Review pendingOut here since 16 October 2026 · review to follow
Review pendingOut here since 16 October 2026 · review to follow
Review pendingOut here since 16 October 2026 · review to follow
Review pendingOut here since 16 October 2026 · review to follow
Review pendingOut here since 16 October 2026 · review to follow
Stephen King adapts his own novel and Mary Lambert films it as though the story would do the frightening by itself. Fred Gwynne and one bedroom flashback earn the 18 certificate; the rest is flat, hurried and led by a man who never looks worried.
Mark Mylod’s horror comedy about a tasting menu gone wrong is sharply cast, often funny and never dull, and it has one point to make about rich diners and their chef, which it makes and then makes again. Fiennes and Hong Chau are worth the trip.
Maika Monroe gives this Colleen Hoover adaptation more than it gives back. The scenes between a mother and the daughter she is not allowed to see are honest and quietly painful; the romance wrapped around them runs on coincidence and never quite convinces.
A horse in a jumper, a glass house above Los Angeles, and six seasons that became as honest about depression, self-sabotage and the slow business of growing up as anything made with actors. The reviews that fixed its reputation were written on the first six episodes, which are the only ordinary ones.
In 1982 Jim Henson and Frank Oz made the first feature film in which not one living thing on screen is human. Every character is a puppet with a person inside it, every landscape was built, and the story of a cracked crystal and a race split in two is told almost entirely by how things look and move. The second in our series about films that tell a story the way only a film can.
Chris Morris spent three years finding out how young men talk themselves into murder, then made a farce about it that is funnier than anything the Pythons or Ealing produced and a great deal braver. The critics gave it a polite 74. We gave it 94, and we are not sure that was high enough. The second in an occasional series about films the critics got wrong.
Between Inception and Annihilation, the studios kept paying for original, adult science fiction at a mid-range budget, a generation of British and European directors took the genre seriously, and the spectacle got legible again. Twenty films from the decade, average Fi1m score 80, and the argument they add up to.
Twelve days, one house, black and white, the text as written and actors who had been reading the play together for years. The 2013 Much Ado About Nothing is neither filmed theatre nor a costume pageant nor a remix. It is the play as a house party, and it changes what a Shakespeare film can cost, look like and feel like. The first in a series about what happens when the stage meets the camera honestly.
