"The Death of Robin Hood" is like a gritty reboot of the classic tale that forgot to include the fun and adventure. With Hugh Jackman brooding his way through as a disillusioned Robin Hood, the film takes a dark and introspective look at the legendary character's final days. While it tries to explore deeper themes of morality and redemption, it ends up feeling more like a slow burn than an engaging narrative. Director Michael Sarnoski crafts a visually stunning world filled with somber hues and atmospheric details, but ultimately falls short in delivering a truly compelling story. The movie sets out to deconstruct the myth of Robin Hood, portraying him as a flawed and tormented individual rather than the noble hero we've come to know. Jackman's performance is suitably grizzled, but lacks depth in portraying Robin's inner turmoil convincingly. Jodie Comer shines as Sister Brigid, offering moments of grace in an otherwise bleak landscape. Despite its ambitious attempt to subvert expectations and delve into psychological depths, "The Death of Robin Hood" struggles to strike a balance between introspection and action. The film meanders through scenes that feel disconnected at times, leaving viewers longing for more emotional resonance and narrative coherence. While Sarnoski showcases his visual prowess and thematic ambitions, the execution falls short of achieving true greatness. The film teeters between being an epic tale and an intimate character study without fully committing to either direction. Ultimately, "The Death of Robin Hood" feels like an interesting experiment that misses the mark on delivering a truly captivating retelling of this iconic legend. In conclusion, "The Death of Robin Hood" may not be your traditional swashbuckling adventure flick, but it certainly offers a unique perspective on one of literature's most enduring characters – even if it doesn't quite hit the bullseye.

"Leviticus" weaves a haunting tale of queer love and horror in an isolated Australian town, where forbidden desires manifest as supernatural afflictions. Adrian Chiarella's debut feature cleverly blends social commentary with bone-chilling unease, exploring the ramifications of homophobia through a gripping narrative. The film's portrayal of conversion therapy takes a dark turn as the characters grapple with their deepest fears and desires, culminating in a twisted romance fraught with danger. With poignant performances by Joe Bird and Stacy Clausen, "Leviticus" navigates themes of self-hatred and acceptance amidst a backdrop of isolation and religious fervor. Chiarella expertly subverts genre expectations, delivering a fresh take on familiar tropes while infusing the story with both heart-wrenching tragedy and unlikely romance. As the film unfolds like a chilling dance between love and death, it ultimately stands tall among its peers in queer horror cinema, offering audiences an unforgettable journey into the shadows of desire.

"I Want Your Sex" is the devil wears Prada meets a contemporary artist's avant-garde wardrobe in this edgy rom-com that aims to liberate and provoke, but ultimately falls flat. Director Gregg Araki returns with a vibrant yet disjointed film that tries to push boundaries but lacks the infectious energy of his previous works. Olivia Wilde shines as the seductive Erika Tracy, luring her sexually inexperienced assistant Elliot (Cooper Hoffman) into a world of BDSM and self-discovery. However, despite its explicit content and attempts at social commentary on generational attitudes towards sex, the film struggles to deliver a coherent message or engaging plot. With colorful visuals, campy performances, and plenty of provocative moments, "I Want Your Sex" teeters between profound and profane without truly landing on either side. While it may entertain as guilty pleasure escapism, this romp ultimately fails to leave a lasting impact or meaningful impression. Araki's attempt at pushing boundaries serves up more suggestive cheekiness than genuine raunchiness – leaving audiences wanting more from what could have been an electrifying ride through sex-positive cinema. Verdict: This quirky rom-com may tantalize with its provocative premise and vivid aesthetics but fails to fully satisfy – leaving viewers with more questions than thrills in this lackluster exploration of intimacy and liberation. Rating: 2.5/5 stars"

Mark Jenkin's "Rose of Nevada" is a mesmerizing blend of beauty and unease, capturing the essence of a Cornish fishing village with its textured visuals and immersive soundscape. The film follows the reappearance of a long-lost boat, sparking a time-travel journey for its crew that blurs the lines between past and present. George MacKay and Callum Turner shine as they navigate this mysterious narrative, with support from an excellent ensemble cast including Rosalind Eleazar and Francis Magee. Jenkin's signature 16mm filmmaking style adds depth to the story, highlighting the rugged charm of coastal England while subtly exploring themes of identity and community. "Rose of Nevada" weaves together elements of folklore and ghostly intrigue, creating a gripping tale that keeps viewers on edge throughout. With nods to classic British realism and a modern twist on genre storytelling, Jenkin establishes himself as a unique voice in arthouse cinema. This film is not just an experience; it's an invitation to immerse yourself in a world where past meets present in unexpected ways. Prepare to set sail on a cinematic journey unlike any other with "Rose of Nevada."