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  • We Are Who We Are

    We Are Who We Are

    ★★★★½

    There’s a defining moment in Guadagnino’s Adriatic opus that has more power to it than anything else seen on network television in a very long time. It’s far from a big event or even an unforseen tragedy, but rather, a moment of deafening silence that not only crystallises the premise, but comments on the state of our world right now, and that moment is this:

    Sarah Wilson is on the couch watching a live-stream of Trump’s victory unfold on television…

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  • The Woman in the Window

    The Woman in the Window

    ★★★

    A conspicuous mess. It kind of evokes the same misfortune that The Girl on the Train was cursed with; the direction is sloppy, the editing is an absolute nightmare (oof, yeah), even the score is way too over-the-top, BUT…I kinda had fun with it.

  • Dark Waters

    Dark Waters

    ★★★½

    Twisted, sister! I like it. Nice and gory wherever necessary, but also wildly nonsensical - that’s not really a con though. A lot like religion itself; it’s hard disconnect from it once you’re in its grasp.

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  • Tenet

    Tenet

    ★★★½

    Inception on crack.

  • Chernobyl

    Chernobyl

    ★★★★★

    Nerve-shredding, well-paced and grimly told; Chernobyl is by far the greatest dramatization of human error ever produced for television, emphasising that the toxicity of humanity is just as destructive as the deadly fumes of nuclear energy. This is truly terrifying stuff.