Based on his 2017 short film of the same name, Alberto Corredor’s Baghead is a horror film about a young woman who inherits her father's pub, only to find out there's a supernatural entity in the basement with the ability to take on the form of dead loved ones.

I had quite a good time watching Madame Web. It's just the right blend of bad and confusing filmmaking, never quite finding a happy medium between corporate meddling and the naïve misguidedness of a first time director.

Beginning with Lillian (Talia Ryder) embarking on a class trip to Washington DC, before a Pizzagate-like violent outburst from a young man […] interrupts her night, sending her down an almost literal rabbithole.

Everyone always asks who is Argylle, but they never ask how is Argylle? Kind of disappointing, if I'm being honest.

Painting a portrait of a marriage in decline, a child irrevocably changed, and a woman in freefall, Anatomy vivisects the ripple effect of its victim’s demise, familial wounds spilling open to reveal grisly entrails for all to see.

Liberating in all the right ways, Poor Things is a heartwarming oddball of a film, matching the gorgeous with the grotesque, showing that even in life's most dire circumstances there is still so much joy to be found.

For fans and newcomers alike, I can see Godzilla Minus One being a decent watch, thanks to its impressive visuals and action, but for me, it's not particularly memorable.

Devoid of all but the implication of violence, The Zone of Interest commands you to reckon with just how easy it is to turn a blind eye without even realising.

Leaving little room for seconds, Thanksgiving reminds us to be thankful for the simple pleasures that horror brings, and not unlike the dishes that might adorn a festive dinner table, there's plenty of corn to go around.

In a world obsessed with John Wick, as well as its various imitators, it seems rare that we get a film that shakes up the revenge genre.

Serviceable but not particularly functional, Five Nights at Freddy's is a horror film that's as clunky and awkward as the lumbering animal robots it revolves around.

While Twin Peaks: Fire Walk with Me is not the most audience (or even fan) friendly experience around, it's a devastating look at a life cut short.

Despite some initial promise, The Exorcist: Believer is a half-hearted attempt at best, and complacent with mediocrity at worst.

While The Nun II isn't exactly breathing new life into the genre, horror fans should find themselves satisfied, offering a course correction after the first entry underwhelmed.

Offering up serviceable (if more than a tad messy) family fun, Haunted Mansion comes close to recapturing Disney's straight to home video glory, complete with a dance party finale.

Melbourne International Film Festival has officially wrapped up, having boasted its 71st edition. After weeks of browsing through the program, swapping sessions, making and re-making calendars, and watching screeners, Eli Robinson would like to think he has a decent handle on some pretty cool short films.

Though it shoots well above its budget in terms of its production value, and features potentially star-making turns from its central actors, You'll Never Find Me winds up feeling more like a sheep in wolf's clothing, fizzling out before it can attempt to wow you with its hypnotic but overlong conclusion.

Featuring Argento at his most feverishly creative, Phenomena lives up to its title, providing an experience that's as difficult to rationalise as it is rare to come by.

Voyage of the Demeter's real problem is that the audience already knows where the map leads, and the film does little in its way to add any bite.

For all of its idiosyncrasies, Asteroid City is an out-of-this-world homerun for its director, ranking up there with Wes' very best.