Much Ado About Nothing was like being given a surprise invite to a lavish summer party in Tuscany; this feels more akin to being trapped in a 'back to nature' weekend theatre workshop where the actors are having a lot more fun than you.
A banished duke and a young nobleman, Orlando, seek refuge in the Forest of Arden. The duke's daughter, in love with Orlando, pursues him disguised as a boy and devises a test for his love.
What we really want from Asylum, of course, is lots of monster on monster action. There really isn't enough of this and the kaiju are particularly rubbish.
When giant sea monsters threaten the US East Coast, only humans in giant robot suits can stop them.
The film's sugar content is off the scale and it doesn’t help that everyone who comes in contact with Evan are sooo nice it reaffirms your belief in human nature – well, almost.
Øvredal takes a handful of old tricks - a cheery song playing unexpectedly, lights blinking out in a corridor one by one, the tinkling of a bell - and uses them to chilling effect. The result is a film you really won't want to watch alone.
Father and son coroners get more than they bargained for when they examine a cadaver.
There are moments when the imagery resembles The Matrix and others when it could be the second half of Full Metal Jacket, with Tarkovsky standing in for Kubrick.
Youngsters in a futuristic world
become addicted to a potentially
lethal video game.
