Beating Hearts is a film of great indulgence, over saturating you with love, violence and earnestness, and asking for no more than an open heart and a not-so-critical mind.

Karate Kid: Legends is a mixed bag, but it’s enjoyable enough that it will still have audiences cheering by the time the credits roll, and kids begging their parents for karate lessons on the ride home.

Whilst certainly not as memorable as his previous works, The Phoenician Scheme still brings Anderson’s classic charm and style in spades. 

Despite being  100 years old (exactly), Strike remains highly watchable and important.

The people of Palestine need more than words, what is depicted in From Ground Zero makes that abundantly clear.  

The Surfer’s dysphoric madness is purposeful, its structure disorienting, and its central performance unapologetically feral. But for those willing to paddle out into deeper, more turbulent waters, it truly stands as a mesmerising devolution into psychedelic bedlam.

The cast of Thunderbolts* being played as antiheroes does a decent job of shaking up the superhero formula enough, while remaining true to its roots for fans of the genre.

There are a few funny jokes and the ending is very sweet, but they unfortunately they can’t save this banquet from feeling like a slog.

There are few films that you will watch like director and writer Ye Lou’s docufiction, An Unfinished Film. 

Upshot is a perfect example of utilising simplicity to underline the horror of reality.

Mr. K is ambitious, imaginative and impressive, but the setup is unfortunately better than the payoff.

Aside from the fact that you may struggle to eat tomatoes for a short period of time, Parish Malfitano’s sophomore film is nothing short of spectacular. 

The conflicting adaptation of Tom Michell’s memoir, The Penguin Lessons, swerves between a lighthearted comedy and political drama.

Small Things Like These is a poignant title for an arresting film, as it’s the little uncomfortable things director Tim Mielants wants you to become familiar with.

The Count of Monte Cristo, directed and written by french duo Alexandre de La Patelliere and Matthieu Delaporte, is a three hour epic worthy of the source material.

James Ashcroft’s The Rule of Jenny Pen is a slow-burn psychological horror that trades in gore for something far more insidious - helplessness.

Oh, Canada tries to be profound and contemplative, but disappointingly, is not as deep or compelling as it thinks it is. 

Steven Soderbergh continues his prolific ‘post-retirement’ run with Black Bag, a tightly-wound spy thriller that is as cleverly composed as it is devilishly paranoid.

While it most likely won’t be regarded as a mobster classic when compared to some of Scorsese’s other masterpieces it is trying to channel, The Alto Knights is still a well-enough-made film that fans of the mobster genre will be able to glean some enjoyment from the feature.

My Melbourne is the people we all know: our friends, our family, our neighbours, our coworkers, our bosses, our classmates, the people on our tram rides in the morning, and the people we talk to on a night out.