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Ti West once again grips the modern horror genre by the throat with his prequel to 2022's 'X', draped in immaculate style and substance once more.

'Pearl' follows the mundane, sequestered farm life of Pearl (played by Mia Goth) and her brawling obsession with becoming a successful movie star. Surrounded only by her devout mother, 'Ruth' (Tandi Wright), and paraplegic father (Matthew Sunderland) she lives a sheltered, (partly) innocent life finding company in her farm animals and Hollywood dreams. The performance given by Mia in this film is truly impressive and bound to leave a mark in viewers' minds - from the simple complexity of her sweet but erratic character to the subtle feminist elements; audiences are sure to take away something from this one. Pearl is innocent, in the least innocent way possible. It's only in moments of complete solitude that her true passions and personality shine through - which is a striking contrast between the dutiful daughter her mother wants her to be and Pearl's subsequent future as portrayed in 'X'.

'Pearl' also doesn't try to compete but rather reinvent and pay homage. It is important to remember that this project is only a part of a bigger story, and while sufficient as a stand-alone, it only offers enough information to compliment its predecessor. Having said that, the story while simple, delivers a satisfying and somewhat nostalgic viewing experience. The scope of the story is reminiscent of 80s horrors, in that it does not introduce some mind-boggling, deeply complex horror story but a rather simple and straight forward descent into madness. It's easy and digestible, which is an element that today's horrors seem to lack.

The style of this film also compliments the story and viewing experience a thousand times over. From the rich primary colours used (reds, blues and whites) to the sets being structurally quite 'perfect' and lonely - it all amounts to a highly satisfactory experience. Admittedly, there is less gore experienced than in X, but that's not to say that it completely lacks in bloodshed. This film is more eerie, or disturbing - much supported by Mia Goth's fantastic performance beginning to end. From her expressions, or lack there of mid-murder, to the very last shot. It all works out in favour of the film.

Though not unfamiliar to most A24 projects, the monstrous 6 minute monologue scene delivered by Mia shows the strength and depth of her character as well as her genuine talent. Amongst audiences echoing pleas for Oscar nominations but as we know it by now, projects like these will rarely ever get that sort of recognition. The temporary vulnerability portrayed by Pearl in the end seemingly adds the relatable quality to this film. Lines such as "All I really want is to be loved. I'm having such a hard time without it lately." and her overall jealousy over someone with total freedom is bound to resonate with audiences.

Whether one looks at this film as a cautionary tale about the Black Swan-esque romanization of desperate and immediate success, or the dangers of the real world and the journey of innocence lost - it's bound to find a home. Pearl is truly a unique project with consistent quality following on from 'X' just months apart in release. I cannot wait for the highly anticipated 'MaXXXine' and I believe that this trilogy will be recognised and remembered fondly.

Olivia Wilde dove headfirst into her sophomore project, a mystery filled thriller-drama, and landed head first into an endless pit of unfinished and underdeveloped characters and concepts so wide, that even the movie's 2-hour runtime couldn't even begin to unpack it all.

Carrying most of the movie alongside Wilde herself was Florence Pugh as the lost puppy, 'Alice', who finds herself in an ominously perfect world with her 'perfect' boyfriend, Jack portrayed by Harry Styles. The story follows Alice's journey in unveiling the truth about this utopia and just how she wound up there. The movie wastes no time in setting the story up (later causing pacing and contextual issues) and we are introduced to all the main characters, portrayed in 'keep up with the Joneses' style, pretty quickly. Almost too quickly.

As Act 1 takes up most of its time showing just how much Alice and Jack are in love with each other, and how the ritualistic days that repeat in this community make up most of the characters' personalities, the story is pretty much revealed. Amid the cinematic sequences is Alice, already in anguish, trying to unfold the expected truth about this dreamland. If not for the trailers, which give away a pretty significant chunk of the movie; this plot might have had a bigger effect. But running on the cliché of a mystery filled utopia, audiences are already likely to be one step ahead.

By the time we're halfway through the movie, Alice has already had many revelations and jeopardised her safety, which in theory should provide the thriller part of the movie, but the continuous back and forth between her and her inner voice stalls the action. When it sets its footing and tension is built, we're already on the next scene in a different scenario. The occasional appearance by Frank (Chris Pine) grounds viewers as his authoritative speeches and long dialogues, reminiscent of Fight Club type toxic masculinity, give direction as to what is going on. Which is a great question for most of the movie as scenes start and abruptly end, often without any meaning or possible interpretation whilst watching.

Ultimately, the main issue is that there are some wonderful concepts but there's no depth to the story, leaving audiences with two-dimensional characters and an underwhelming reaction. The revelation of Bunny's character (Wilde) and Alice's background are a few of the more unique and intriguing elements of the movie, but all the while it doesn't make up for some of the most confusing and random character storylines such as Margaret's.

Addressing the elephant in the room, and what I believe is the main discussion point of many reviews surrounding this project, is Harry Styles. While he offers a very mild performance, he nonetheless provides some of the more memorable parts of this movie -- which may be for the wrong reasons but at least he made his mark. His character makes me believe this movie would have worked better as a comedy rather than a completely serious social commentary.

The Northman brings a breath of fresh salt air into the film industry with its unique take on a gnarly revenge story, while still resembling Robert Eggers' intricate ideas and being a shining example of his work. The film follows a viking prince, Amleth; played by Alexander Skarsgard, whose father, the King, is brutally murdered by his brother, Fjorlnir. As Amleth's mother is taken captive by the now King Fjolnir, he flees his homeland after being assumed dead while chanting "I will avenge you father, I will save you mother, I will kill you Fjolnir". The majority of the film follows the mercenary life of adult Amleth, finding his way back through vengeance and recovering meaning in his own life after losing not only himself but the meaning behind the mantra that once powered his survival.

This film, created on a $90 million budget, delivers an intimate stance on a personal revenge story which is not what audiences are used to when it comes to such a bold and wild theme. Some may say it requires a certain audience. A viking film brings high expecations and hopes for high action, but The Northman replaces these gaps between action sequences with philosophy, religion and lore. Eggers once again proves right in his research, delivering a magnitude of information about vikings and Norse mythology that doesn't feel overwhelming and lets the audience confidently absorb the content thanks to the trust of authenticity Eggers built through his previous projects. Noteworthy elements include the realistic sets, from the hay covered huts to makeshift defense walls, as well as the wardrobe correctly representing each characters' social status and story thanks to the costume department. All of the film crew delivered excellently. In addition, working together with Eggers to write the script for this film was Sjon, an Icelandic author who helped to shape a beautiful, almost Shakespearean script. At a handful of points during the film, elements of Shakespeare also shine through, like the visions, the speeches, the cinematography - it all works to compliment each other, being a big reason for the smooth flow of the film.

Some of the cast having worked together with Eggers prior to The Northman have seemingly brought a level of ease to the film and crew, say Anya-Taylor Joy who plays a captured witch; Olga of the Birch Forest, who eventually finds destiny in Amleth. Or Heimir the Fool played by the very Willem Dafoe, which is yet another very physical and unique character created by Eggers and bound to leave a mark in audiences minds. Now, what may seem like minor roles are also just as important, as per Nicole Kidman's cunning character, Queen Gudrun, displaying power and deception like no other all while being an emotionally driven mother and Queen. Claes Bang as Fjolnir also conveys a truly detestable but vigilant fighter. All in all, the lead role of Alexander Skarsgard absolutely takes the win - the level of physicality as well as mental strenght brought and endured by him is admirable. Of course, all of the cast went through great efforts, both mental and physical, in the making of this film, but to continuously growl, scream and fight like that, following choreography, wielding weapons all while staying in character is hard work done, recognised and respected.

Visually, this film takes one for authenticity. It's not just two hours of Icelandic scenery but a range of dynamic shots, day and night, close ups that feel very reminiscent of 2021s 'The Tragedy of Macbeth', and wide shots of character entrances and dialogue exchanges that shake up the visual elements of such a bold film. Eggers' also keeps in line with his ethos of almost all natural lighting, just like the vikings would have had. In terms of gore, the film also delivers to a sufficient level and it doesn't overstep that, even though there are some pretty gnarly and disturbingly violent parts. All amounts to an authentic depiction of the viking ages.

As mentioned before, the film does very well to depict Norse mythology in a way that viking films haven't really explored, bringing around 90% realism and 10% visual fantasy. Elements which elevated the film are Amleth's visions: from the depiction of Odin to Bjork's Seeress and the (very historically accurate) Valkyrie, as well as Amleth's family/legacy tree. The authenticity through which this film is told grounds viewers but those little moments let them see what's really happening in Amleth's mind; a sort of psychological insight to the macho warrior displayed, which is quite beautiful in a way. Besides the gore and fighting, there's this fearless, vengeful warrior who never really found his way after losing himself and now he's given his life once again to fulfilling the promise he made.

Overall, really interesting film that deserves a full in-depth review but I desperately felt to say something as I was very impressed by Robert Eggers' authentic representation and think the cast is one of the best.

The Batman lays a thick veil of darkness over the Gotham city previously seen and loved with a noir story that breaks the chain of monotonous superhero movies and delivers a detective classic. Reeves delves into the psychology of The Dark Knight, peeling back layers of lies and corruption in each and every intricate character introduced. While the almost 3-hour mark is intimidating to general cinema goers, this time frame does the story justice and holds up over each act as viewers are immersed in the brooding world created and brought alive using real life locations and sets. Greig Fraser's inviting cinematography works to pull audiences right in, complimented by Pattinson's narration which feels almost like piggy-backing the caped crusader around Gotham, instilling a strange, subliminal empathy in viewers for the city's unfortunate dwellers.

It's safe to say that this is the best film adaptation of the Batman, giving an extensive, psychologically rooted point of view of the familiar character in a whole new light. The exploration of the depth of trauma is present in both Batman and his foe, The Riddler, as noted by director Matt Reeves - both identities were born of trauma. The extent of Bruce's unresolved mental troubles is proven as even when unmasked, he thinks of nothing but ongoing crime and dirt, unable to hold an otherwise normal conversation with his peers. Being only two years into relentlessly fighting criminals night after night, his mind filters triggers and has entirely let go of self-care, giving himself completely over to the night.

The Riddler brings an element of horror that keeps audiences engaged and some ill at ease with his sudden, violent moves. The hair-rising score by Michael Giacchino perfectly complements the classic horror elements in the film, Dano's acting and heavy muffled breathing adding to the tone of his character without speaking a word. The only criticism regarding the Riddler is the reveal, while it's grounded and realistic - the build up is thrilling, there's no explosive unmasking moment.

Besides, the depiction of characters is an art that Reeves has otherwise mastered, introducing a number of nameable characters but letting none take the show. Oswald Kobblepot A. K. A. The not-yet Penguin, played by the well-hidden Colin Farrell, plays into his nonchalant mafia-esque charade, dodging bullets when he's not firing any. His current employee at The Iceberg Lounge, Selina Kyle played exquisitely by Zoe Kravitz, brings fierce independence with an equal balance of emotion shown through her determination of tasks and survival. Above all Carmine Falcone, brought to life by John Turturro, entertains the chilling power of the elite as he has the entire city in the palm of his hands.

As the film progresses, a long-sought after detective story unravels itself, Jeffrey Wright's James Gordon working magnificently with Pattinson's Batman. Both characters rely on each other, Gordon in terms of trust as most of his fellow associates moonlight as cops and Batman relying on insight to crime scenes and deeper corruption.

Amongst many favourable scenes and parts, the interrogation of The Riddler feels like it's been ripped out from a comic book, from the eerie build-up to the reveal of The Riddler's plan and Batman's relentless fury to the atmosphere built in such a small space. The acting is truly defining on both parts, leaving viewers feeling a bundle of emotions in response to Riddler's reaction in one hand and anger on the other.

The Batmobile chase scene is spectacular, opening with a tense fight and introduction scene for the Batmobile. Abort not letting other characters steal the show, because the Batmobile did just that. The chase is nerve wrecking, as the camera cuts between Batman and the Penguin viewers get a real sense of these characters under pressure. In the end, as seen in the trailer, the Bat catches up to Oz and gives the coolest shot yet; Batman walking out from he flames unphased and full of determination to get what he came for.

Overall, brilliant film and a few paragraphs cannot do the sheer volume of comic book greatness justice. Critiques wise, they are very vague and small unworthy of mention. This film delivers.

Horror fanatic Robert Eggers' second film, The Lighthouse, brings Fight Club like toxic masculinity in a dark 1800s setting to tell a tale of insanity and inevitable doom masked in a contemporary story. One of many, this film is shot entirely in black and white with a specific aspect ratio of 1.19:01 which is pretty on board for a unique A24 production. The film tells the story of two jagged men with mysterious pasts and personalities built on tall tales and lies, who eventually, no matter how much they differ, meet the same fate. Masked behind the madness are Willem Dafoe as Thomas Wake and Robert Pattinson as 'Ephraim Winslow' - yes, that's right this film contains only two characters in a single location that is the haunting island far off shore, filled with secrets and mysteries.

The story is pretty simple and free flowing. Its open to interpretation and it is not bound to sending a message, just two guys and many, many lies. Understanding this film was never Eggers' intention but rather to experience madness pushed to the limits.

The camerawork, cinematography and directing are the main highlights in production. From the entirely manmade set including the 70ft tall Lighthouse, cottage and furniture, to the usage of antique camera equipment dating all the way back to the 1840s complimenting the authentic tone of the film - it all amounts to a satisfactory viewing. Even if the general audience didn't know said facts, the sensory experience provided would surely be appreciated. The camera work on Blaschke's part is fantastic, the way he carries the audience, story-board like, with one-shot scenes that let the film flow smoothly, building the tension even higher.

The acting is outstanding from both actors, proven in said one-take dialogue scenes, generally spanning over 1-2 minutes, if not more. The emotion driven performance by Pattinson evokes movement in viewers, who almost feel as though they are shadowing the rollercoaster that his character takes during the events of this film. Through these characters, a strange balance of ominous and comedic moments are translated to the audience without shifting the tone entirely. There is no single protagonist or antagonist as both the characters and viewers get lost within the sea of lies created; yet, within this cesspool of insanity, there is a contrast of magical, almost light-hearted moments. For example, one of several mind-bending concepts is this idealised mermaid that Winslow meets amid his journey, and she brings an element of fantasy which could solely be a product of the male imagination brought flat to the screen or a truly enchanting experience. The illusion is never outright proven true or false.

Regarding favourite parts and personal opinions; there are many outstanding moments but one of the most riveting scenes is where Winslow walks into the sea, encapsulated by the moon's reflection on the water. As he is slowly engulfed by the black, murky water his past slowly comes back to physically haunt him, during which his shame and guilt are exposed to the viewers. On a first watch, it's confusing but every rewatch reveals a new detail. Pattinson's acting completes this scene; his facial expressions and transient body being swallowed by the ocean gives way for all sorts of metaphors - it's perfect. Worthy of mention is the division of power presented between Winslow and Wake. The gradual climb that Winslow takes to overpower his opponent is frustrating and tense to watch, moments where he is taken advantage of or bossed around only add to the adrenaline build. Though, all is forgiven when he, standing above Wake in his final form of power, gives his final speech and gets the gratification he so desperately sought before meeting his end.