Pillion bizarrely retrofits Adam Mars-Jones tragicomic novella Box Hill within the structure of a rom-com, defanging the complex sexual politics of the original text in favour of a highly marketable premise.

Urchin isn’t concerned with a film-like “happy” conclusion to its character’s problems; it lets you marinate in the idea that things might not actually get better - and that was refreshing.

Christmas Karma certainly isn’t boring, but not in the way you would want it to be.

Oz Perkins’s Keeper is a film that wears its intentions on its sleeve: intimate horror wrapped in relationship anxiety, an exercise in dread that occasionally achieves something quietly memorable.

The Shrouds presents potential by reeling in its audience at the beginning, but then loses its grip on them far too soon.

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

Dahomey is a compelling narrative that underscores the legacy of a colonial past onto the present while demonstrating hope for a future shaped by the Beninese people.

Stephen Soderbergh […], makes a return to experimental filmmaking with Presence: a modernised ghost story serving as a deliberate subversion of the genre itself.

If you’re looking for a film to watch with your family, this one won’t set your world on fire, but it’s sure to incite some excitement from younger audiences all the same.

Subverting expectations and blending genres, Your Monster is an endearing love letter to the ones who’ve had their hearts broken, and gives them permission to embrace their fury. 

Goodrich may not be particularly groundbreaking, and there are definitely other slightly better movies out there like it. However, it’s so endearing that it is impossible not to be charmed, with Keaton being the pièce de résistance.

SK Dale’s direct-to-streaming suckfest Subservience, […] dares to ask the brave question “what if we made the robot… sexy?”

Bookworm is a delightful ride that offers the humour, heart and thrills of the best old-fashioned adventure films, while remaining grounded and character-driven. 

Longlegs still manages to stand out despite the abundance of highly effective and artful horror we are afforded in the modern era.

The Promised Land sheds light on a dark but important part of Denmark’s history. It is a superbly made film that is boasted by powerful performances and the strength of Mikkelsen’s screen presence. 

To put it bluntly, The Exorcism is an atmospherically stagnant cinematic offering akin to a long walk down a windy beach to a café that isn’t open.

The Taste of Things serves up a complicated feast for the eyes, intrinsically tying its romanticisation of cooking as a love language to the identities and passions of its two leads.

Fans of bizarre, esoteric and extreme films, who live around Melbourne and Sydney can rejoice, because it's that time of year - Fantastic Film Festival Australia is back once again.

Io Capitano offers audiences an empathetic and raw portrayal of the harrowing challenges asylum seekers face, simply in order to have a better life that so many of us take for granted.

A grim look at international relations through the lens of a hostile Nicaragua, Claire Denis’ latest ‘romantic thriller’ Stars at Noon is unfortunately lacking in both romance and thrills.