Our reviews aren't poetic, they just happen to rhyme.
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Gerwig brings us Lady Bird’s world so skillfully, assuredly and roundly.
A teenage girl navigating growth (and things not going soundly).
So well cast: every part!
One of many who stole my heart
Was Henderson, with a portrayal so utterly moving (profoundly).

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Robbie: phenomenal, in a film with structural issues, (which reduces
To black humour some instances of domestic abuses).
So Tonya’s shunned (‘uncouth; non-fancy’),
But what about Nancy?:
The (gagged) true victim here, while all the others make excuses.

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Monologues, speeches, then even more words (with little refrain),
This could be grating, if it weren’t for the skill of Chastain -
Who keeps us engaged.
Fast-paced game-play: well staged -
In this film that has its flaws - but entertaining in the main.

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The lauded, difficult genius (excused: because of his art)
Meets his new love, and here comes the start
Of their complex game.
Gorgeous detail in every frame.
Enchanting; witty; with a fascinating darkness at its heart.

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For us kids of the Seventies: a times, a fun, nostalgic trip:
The lurid colours, unnatural fibres, French Onion dip.
Some of the kids knew the score,
But I’d love to have learned more
About what the parents were thinking pre-The Great Unzip.

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A solid film, but quite conventional. There’s really nothing new
To see here. So, after Chamberlain’s bid adieu,
Winston takes the job (and strain).
’Wow, the PM’s on the train!’
Oldman’s strong, but the real star’s Tsuji (and his crew).

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Ellsberg knows secrets, and while employed at RAND
Wants hard truths exposed, and takes a brave stand.
Spielberg’s work had me riveted:
Tense, as outcomes pivoted
On Kay’s decision (a superb Streep) re: playing The Post’s hand.
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The hardest part of writing this list was not the rhyming, but narrowing down my favourite 100 films of all time. It's an overwhelming task.
In the end it was way too hard to rank them from #100 down to #1, so instead I broke them down into categories and didn't rank them at all.
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In the shadow of theme parks, candy-coloured walls belie
The truth about hard lives, and the struggle to get by.
In portraying Moonee’s situation,
Young Prince is a revelation.
This unflinching, humane film warrants praise most high.

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A decidedly hollow offering (with so much histrionic rage).
I hoped for someone or something with which to engage
(But found no traces).
Its only saving graces:
Some interesting visual elements (though these served to upstage).

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Vile, damaged March (full of poison, and new to town)
Brings on an event that’ll require the rep of the Crown.
From Thornton: extraordinary storytelling
Visually commanding, and so compelling.
Doolans: brilliant work (as a boy used to being pushed down).

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Nebraskan Safraneks (Audrey and Paul)
Are slated for a new life as Small.
Interesting concepts, but executed
In a way that often diluted
Potential depth. Plot ideas: too much sprawl.

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First school for Auggie, and first experience of friends
In this sweet, moving film that never descends
Into schmaltzy manipulation.
Sincerity: its foundation,
Led by strong Tremblay. Lesson: kindness transcends.

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