Cochrane has created something very affirming with The Language of Light. Tracking an artist's progression in this documentarian manner works wonders in seeing the motivation and often radical protest that goes into art.

What’s most impressive about The Odyssey isn’t its scale - it’s that the bigger Nolan’s filmmaking gets, the more human it becomes.

This is the tension through which Jackass is at its most thematically resonant: the belief that their careers as stuntmen could end at any moment, one way or another.

If you’re looking for answers, Mungiu and his film don’t have them, just the questions. It’s up to you to decide how you want to answer them.

Despite the Thylacine’s officially declared status as extinct, sightings and alleged evidence of surviving examples persist. Neil Waters, through his 'Thylacine Awareness Group of Australia', has been on a mission to prove to the world that the Thylacine survives. I spoke with Jonathon Buckland, who has directed the feature-length documentary Eyes Like Diamonds, all about Neil’s efforts.

Ultimately, Saccharine will be remembered for its horrifically macabre and unnatural imagery, but perhaps not for long due to the script’s shortcomings.

Charting the collision between academia and spirituality over the course of 100 years, Hungarian auteur Ildikó Enyedi’s Silent Friend is an enthralling study of both scientific and personal discovery.

It would have been logical for Robinson to leverage his Hollywood connections and his talent for incendiary imagery into a provocative, starry filmmaking debut. But First Light, his first feature as writer and director, is a determinedly minimalistic effort.

Supergirl still manages to soar high enough to keep faith instilled in Gunn’s new universe. If the studio keeps heading in this direction, it appears there is a lot to look forward to for comic book fans.

The Invite is a different kind of lewd comedy, there’s no nudity or a truly explicit love scene. Rather, it discusses the lewd, how different couples are sexually. It’ll make you think about your own neighbours; what are they really like behind those closed doors? If they’re anything like Hawk and Pína, you may just want to invite them over for your own dinner party if you’re open-minded enough.

Toy Story 5 is a fantastic ride and great addition to the franchise. It’s a significant improvement over the fourth entry, matches some of the highs of the original three films and is definitely worth checking out in cinemas.  

Nearly fifty years after his first sci-fi film, Steven Spielberg returns to his extraterrestrial roots with the alien blockbuster thriller of the year. 

While Leviticus struggles to wring any truly memorable scares out of its genre trappings, the quieter love story at its core rings true. Chiarella clearly has an eye for the restrained, observational cinema of gay loneliness – it’s yet to be seen if he can really let these ideas rip through a horror lens.

The Captive may not do enough to earn classic status, but Amenábar does deliver a highly entertaining, contained adventure with solid pacing, compelling characters, and an engaging plot. Some may have a problem with its liberal recounting of history, but if met on its own terms, it is sure to captivate.

Yeon Sang-ho’s Colony is a run-of-the-mill zombie film with an interesting premise that is held back by its uninteresting plot, characters, and cinematography.

Buffet Infinity is a truly incredible film that has no right to work as well as it does, and I can quickly see this becoming a cult classic among stoners and midnight madness crowds with a hunger for something truly out of this world.

Masters of the Universe is perfect for old and new audiences alike. There’s enough nostalgia to keep those who grew up with the show happy, but the film’s unabashed wit, heart and visual splendour will charm a whole new generation too.

The Christophers does not have a sexy Hollywood sales angle – it’s an art forgery film, after all – but it’s further proof that we’re yet to get a clear sign there’s anything that Steven Soderbergh can’t pull off.

Representing a big step up not only in terms of its theatrical release, but also in Barker’s command of filmmaking as a visual medium, Obsession boldly stakes its claim as a true modern genre masterpiece.