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

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.

As expected, it was just as poetic and articulate as you would expect from a film narrating the life of Franz Kafka. 

John Carney’s Power Ballad (2026) is a heartwarming yet unremarkable musical comedy that misses a lot of notes.

The film is a must watch for fans of the surreal and the strange, and a must skip for fans of the French monarchy.