The Housemaid (2025)

A plot synopsis of this "thriller" on Wikipedia would reveal the twists just as artfully and thrillingly as director Paul Feig's movie - an adaptation of the hit book by Freida McFadden and hark-back to the throwaway domestic thrillers of the 90s - a monotonous, personality-free drear with no redeemable characters and nothing to care about, and when I genuinely ask family and friends who profess to have loved it what exactly they liked, the answer is frequently Sydney Sweeney's boobs.

★★☆☆☆

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Madame Web (2024)

This much maligned Marvel superhero flick isn't so bad if you are not fussed by its relatively small (for superhero movies) budget or by its lack of male muscle and brawn (instead we have female teamwork and clairvoyance), and you need to be able to look past some weird dubbed voice acting that is never explained, but Dakota Johnson, a presence as light as a feather (like her mum in Working Girl, you feel she might blow away in a wind) is captivating as Cassandra Webb, a paramedic experiencing strange things in the lead up to her discovering by movie's end that she is a spider-enhanced superhero. 

★★★☆☆

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The Voyeurs (2022)

Imagine L B "Jeff" Jefferies and Lisa Fremont getting off on watching, through a feverishly passed back and forth shared pair of binoculars, Lars Thorgood regularly doing it and you get the idea of Amazon Prime's The Voyeurs, a movie that starts promisingly, riffs interestingly on eyeballs, titillates regularly with a tangle of young, beautiful bodies, but ultimately insults by flinging carelessly at audiences a series of glib, eye-roll inducing twists that only the most unquestioning of viewers will accept.

★★☆☆☆

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