It’s not as dark ast Kitaro, but Totto-Chan tells The Boy and the Heron’s story better.

Anthony Hopkins makes the British Oskar Schindler into a compellign wartime hero in the otherwise honourable, but pedestrian, One Life.

Tsang Tsui-shan heads back to the village in the third in her unofficial Ho Chung trilogy, Winter Chants.

Might as well cue up a Spotify playlist. You’ll learn as much as you will from Bob Marley: One Love.

Love is a Gun is artsy enough for Critics’ Week. Do with that what you will.

The Lyricist Wannabe will tell you why we should have a little more respect for Cantopop.

Da’Vine Joy Randolph steals the show in Alexander Payne’s latest angsty white guy drama, The Holdovers.

Koda Gou goes there in his Kitaro origin story, The Birth of Kitaro: Mystery of GeGeGe. Brace.

Yuya Ishii’s The Moon has a whole lot to say, just not entirely coherently.

Denis Villeneuve continues his deep dive into Frank Herbert’s sci-fi classic with Dune: Part Two.

Andy Lau proves why he’s a damn movie star in The Movie Emperor.

How marvelous! Yorgos Lanthimos and Emma Stone strike again in Poor Things.

Yup. Another anonymously moralising thriller set in the foul depths of unnamed Southeast Asia. Why?

What kind of apocalyptic thriller has no gunfire? Mahalia Belo’s The End We Start From kind.

Huang Ji’s contemporary China trilogy wraps with Golden Horse winner Stonewalling.

Yes, the Holocaust really happened, and yes The Zone of Interest is as incredible as you’ve heard.

Nope. Madame Web is not worse than Morbius and it has girls. Get over it.

Hey, at least this My Missing Valentine is a little less pervy than the original.

No, Migration isn’t about brain drain.

When Table for Six 2 remembers its roots it’s a feast, but most of time it aims for haute cuisine: tiny bits that don’t fill you up.