Given how few laps are left would it not have been better to keep Antonelli out and add the 10s to his time?
14.03.2026 03:30
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Given how few laps are left would it not have been better to keep Antonelli out and add the 10s to his time?
LIFEBOAT may not be one of Hitchcock’s most famous films, but it’s still a very good wartime survival story with a claustrophobic setting and a fantastic cast
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As for this season, Mercedes look quick. Ferrari pushed them but I’m not sure even with a perfect strategy they had the pace to win. McLaren look well of the pace, and Red Bull need a clean weekend before properly judging where they are
These cars are certainly different but that doesn’t mean they’re bad. The actual racing looks better than last year’s cars. And not once did I notice the lack of DRS. Early days but these regs have potential
PRISCILLA is a story of grooming, abuse and manipulation by one of the most famous men to ever live. It’s also easily the best Elvis film in recent years
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A VIEW TO A KILL sees Roger Moore end his time as James Bond on an extremely disappointing note. Other than the title song there is nothing to enjoy in what is by far the worst film in the series up to this point
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Sinners hasn’t actually won a direct Best Picture precursor. Every major group that has explicitly been asked to name the best film of the year has pretty much unanimously selected One Battle After Another
If SAG and PGA had swapped dates the narrative right now would be OBAA stopping Sinners’ momentum before it even had a chance to get going. I don’t think tonight made any real difference in the Best Picture race
CLOSE ENCOUNTERS OF THE THIRD KIND is perhaps the definitive film about alien contact, and is a template for almost every Steven Spielberg film that followed
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ALL THE PRESIDENT’S MEN is not only the greatest journalism film, or one of the greatest political thrillers from the golden age of that genre, but is one of the greatest films ever made
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This version of RICHARD III moves the action of a fictionalised fascist Britain in the 30, which I’m afraid to say doesn’t completely work for me. Ian McKellen though is having the time of his life chewing every bit of scenery in sight
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HEAT is an iconic crime thriller, not least for the captivating scenes between Al Pacino and Robert De Niro
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MALCOLM X may have an outrageous runtime, but it is still an enthralling exploration of one of the most complex, and controversial, men of the 20th century. Not to mention it features Denzel Washington giving one of the greatest performances ever put on film
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OCTOPUSSY might have a ludicrous title and a fairly uninteresting middle section, but the stunt work is outstanding and we get a villain plot that wouldn’t seem out of place in a serious Cold War thriller
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L.A. CONFIDENTIAL is a cynical look a police corruption wrapped in film noir world
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Austin Butler on his own just about keeps Baz Luhrmann’s ELVIS above water, but almost everything around him is definitely trying to sink it
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Perhaps no film has ever defined its genre more than DOUBLE INDEMNITY does with film noir
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CHALLENGERS showcases great performances, cinematography and especially editing, but I can’t help but feel frustrated by the ending
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Despite some scripting issues, OPPENHEIMER is still a fascinating exploration of one of history’s most consequential men and a complete technical marvel
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FOR YOUR EYES ONLY brings Bond back down to Earth, and in doing so delivers the best entry in over a decade
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PLANES, TRAINS AND AUTOMOBILES is a funny and heartfelt 80s classic that if anything is hampered by its relatively short length
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BLADE RUNNER 2049 is an extremely rare case of a legacy sequel that not only matches but actually surpasses its legendary predecessor
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While I maybe admire it more than I love it, visually and thematically BLADE RUNNER is an undeniable joy to watch and experience
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PETITE MAMAN is a small but beautiful film about grief, sadness and the bond between mothers and daughters
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MOONRAKER is at times a surprisingly good, poignant and, perhaps scarily, relevant film. It is also filled with more than its fair share of silliness
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Gregory Peck is always reliable to give a good performance, and thank God he does otherwise THE OMEN really would have very little going for it
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NIGHTMARE ALLEY has all the right style, but the story and characters don’t quite measure up to make it all work
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Both Emily Watson and Rachel Griffiths are fantastic in HILARY AND JACKIE, a film with an interesting structure that rewards you for sticking with it
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THIS IS ENGLAND shows how the far-right can infect and corrupt groups and groom individuals, with devastating consequences
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THE SPY WHO LOVED ME sees both Roger Moore and the franchise itself feel much more comfortable and confident, resulting in the best Bond film in almost a decade
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