Jett Rocket II: The Wrath of Taikai

The brooding pace and relative silence that characterize writer-director Michael Sarnoski’s The Death of Robin Hood is more evocative of his standout debut film Pig than it is his far more mainstream A Quiet Place: Day One, making this elegiac but brutal period piece his most niche and least accessible film yet. Still, its heady mix of mournful drama and murderous action certainly distinguish it from the litany of other Robin Hood films in existence.

Matthew Needham says his scheming character has 'bitten off way more than he can chew'

The End of Oak Street hits all the right nostalgic notes for a family adventure clearly inspired by the '80s most iconic sci fi films. David Robert Mitchell pulls from the same back of tricks that made It Follows a cult classic to add just enough plumage to the dinosaurs to make his film more than just a Spielberg impression.

In the Hand of Dante review: Oscar Isaac leads a languid drama as both Italian poet Dante and New York author Nick Tosches.

Legendary swordsman Miyamoto Musashi considered himself more an artist than a fighter. A keen strategist and a self-proclaimed master of war, I think it's Musashi's art that hits more keenly than his katana: it's minimalist, monochromatic, a study of nature defined by its simple brilliance. Less is more. Whether intentional or not, I think Capcom may have internalised this philosophy when creating Onimusha: Way of the Sword - a game based loosely on the life and conquests of Musashi. Seldom over-complicated and often composed with artisanal skill, Way of the Sword takes the philosophies of 16t