Well, this story certainly has a bone to pick with the definition of a happy family! Monster: The Lizzie Borden Story takes us back to one of America’s most infamous murder cases, where family drama gets very bloody and the question of “who did it?” comes with an axe-load of suspicion. With Lizzie Borden at the centre of the story, I was curious to see how the Monster series would put its own spin on this notorious case.

One of the things I enjoyed about this chapter of the Monster series is that it doesn’t simply focus on the famous “Lizzie Borden took an axe” story that most people already know. It tries to look beyond the headlines and explore Lizzie as a person, as well as the circumstances surrounding the murders of her father and stepmother.

I also enjoyed the appearance of Aileen, who provides another connection to the wider Monster universe. Her inclusion was an interesting touch and reminded me that this series is not only interested in the crimes themselves, but also in the infamous people behind them and the stories that have developed around their cases.

The comparison between Lizzie and Aileen is also interesting. Their stories are very different, but both demonstrate how notorious murder cases can become larger than the people involved. Their appearances add another layer to the series and its exploration of some of the most infamous names in true crime.

Unfortunately, this is where I started to feel that the series didn’t quite reach its full potential.

Lizzie Borden’s story is fascinating enough to carry a compelling series, but I found the pacing to be quite uneven. There were moments where the story had me interested and wanting to know what would happen next, but there were also sections that felt slow and dragged the overall experience down.

I also wanted more depth from some of the characters and storylines. There is plenty of material to work with, but at times it felt like the series was only scratching the surface. I would have liked to see more exploration of the relationships, motivations and circumstances surrounding Lizzie.

The atmosphere, however, works well. There is something naturally unsettling about watching a story based on real murders, particularly when the question of guilt has remained part of the fascination surrounding the case for so long.

The performances also help keep things together, and there were definitely moments that stood out. But for me, the series didn’t have the same impact that I would have hoped for from a Monster story.

The cast is definitely one of the stronger parts of Monster: The Lizzie Borden Story. Ella Beatty does a good job as Lizzie, especially in showing the character’s more troubled and complicated side. She brings a quiet intensity to the role that works particularly well during the darker moments. Vicky Krieps is also impressive as Bridget Sullivan, bringing plenty of personality and emotion to a character who becomes an important part of Lizzie’s story.

Rebecca Hall and Charlie Hunnam also make an impression as Abby and Andrew Borden. Their performances help create the tension within the Borden household and make the family dynamics feel increasingly uncomfortable. Billie Lourd brings a different energy as Emma, Lizzie’s sister, and adds another layer to the complicated family relationships.

And then there is Sarah Paulson as Aileen Wuornos. Paulson is always someone who knows how to completely disappear into a character, and her performance here is another reminder of that. Even though Aileen’s story is separate from Lizzie’s historically, Paulson gives the character a strong presence and helps connect the two stories thematically.

For me, the performances are one of the reasons I continued watching even when the pacing started to drag. The cast brings enough intensity to the material to keep the story moving, even when the writing doesn’t always hit the mark.

I wouldn’t say I disliked it. There is enough here to keep fans of true crime and the Monster series interested. However, I found myself wanting more from the story, especially considering how fascinating the real-life case is.

⭐ Rating: 3/5

Final verdict: Monster: The Lizzie Borden Story had all the ingredients for a killer story, but unfortunately it didn’t always chop it up into the most gripping television. The axe has fallen, the mystery remains, and Aileen adds an interesting connection to the Monster universe — but for me, this one was more “what the axe?” than “what a killer season!” It certainly has its moments, but ultimately, it left me wanting a little more bite.

Take a swing and watch Monster: The Lizzie Borden Story on Netflix.

I walked into the UK multimedia screening not knowing quite what to expect and walked out absolutely blown away. Without a doubt, Hope is easily one of my absolute favorite films of the year so far. It really is that special.

Directed by Na Hong-jin and currently the most expensive South Korean film ever made, every penny shows right there on screen. It begins gently, taking its time in those early scenes. It is slow and careful, building atmosphere like a gathering storm. You settle in, wondering where it is heading, and then it unfolds. Layer by layer, the tension rises, the stakes climb higher, and by the end, it delivers in the most astonishing fashion. I honestly did not see that conclusion coming, and now I am delighted to confirm a sequel is officially in development, which is wonderful news in my opinion.

Watching this felt like witnessing something truly unique, as if Jurassic Park, Resident Evil, and Avatar all came together in one incredible, heart-pounding vision. It sounds wild, and it is, but it works beautifully. Funny enough, there was another major film screening at the very same time, and part of me felt a little guilty choosing this one, but not for long. Every single second was worth it. This was the right place to be.

This is South Korean cinema at its absolute finest. I have long admired how bold, daring, and deeply human these films are. From Parasite to Decision to Leave, they’ve touched me more emotionally than very few other films have in the past.

Cinematographer Hong Kyung-pyo, whose previous work includes Parasite, The Wailing, and Burning, frames every moment with such care. He pulls you right into the heart of the town and the fear gripping it.

Set in the quiet, remote town of Hope, things begin with a grisly discovery: a mutilated cow found on the road. Police Chief Ko Beom-seok, played superbly by Hwang Jung-min, slowly uncovers something far worse than any wild animal, something entirely other. Zo In-sung stars alongside him as Sung-ki in the fight that follows. What starts as a mystery hunt becomes a fight for survival against visitors no one saw coming. The tension in that first hour is masterful, and that early car chase is pure cinema at its best. The finale is absolutely spectacular.

Beyond the thrills, there is real heart and meaning here. It asks a vital question: When we face the unknown, do we reach out, or do we reach for a weapon? Too often, we shoot first and never learn the truth, and that truth runs through every powerful moment of this film.

Hope is spectacular, thrilling, and unforgettable. A genuine highlight of 2026.

Selected for Official Competition at the 2025 BFI London Film Festival, this is a bold and thought-provoking film set in a typical British primary school. Saoirse Ronan plays Maria, a teacher who is doing her very best but feeling the weight of a system that is failing both her and the children in her care.

When one particular pupil, Danny (Eddie Waller), becomes increasingly disruptive and difficult to manage, Maria starts out with good intentions and firm boundaries. But as the situation worsens, she finds herself making decisions that go further and feel far more extreme than she ever thought possible.

What begins as a story about classroom discipline slowly twists into something much deeper and darker, making us question who really gets to decide what is right and wrong.

Maria (Saoirse Ronan) and Danny (Eddie Waller) in Bad Apples. [Pulse Films]

This film looks closely at the labels we put on people and how easy it is to point a finger without ever truly understanding the full picture.

It is a movie that asks us to look at power and accountability and makes us wonder who the real bad apples actually are.

Saoirse Ronan gives us another powerhouse performance. She truly shines in every role she’s appeared in over the years, especially in this latest role, where she transforms into a teacher. She carries every heartbeat of Maria’s journey with a burning intensity that is terrifyingly real.

You will feel the emotional journey she goes through with the character she portrays in this hard-hitting film. Amazingly, Jonatan Etzler directs with confidence, crafting a world that feels familiar yet increasingly surreal, where every creak and glance hints at something darker beneath the surface.

That being said, the tone falters when it leans too hard into allegory. Some of the narrative leaps stretch credibility, and the balance between satire and thriller does not always land smoothly. It provokes in all the right places, refusing easy answers or tidy closure.

This movie will make you ask yourself uncomfortable questions and let them linger in your mind. It is another example of masterful, bold, daring filmmaking at its finest. Definitely a film to open your eyes widely and a must-watch, especially for the fabulous acting performances of the whole cast.