I haven’t seen a movie juggle the human range of emotions with such ease in years, although I can recall one movie that did it pretty well not too long ago: Paddington [1].

Shackled by crowd-pleasing and Disney-pleasing obligations, the greatest victory of the MCU’s latest is, blessedly, that it’s a Sam Raimi Film.

Set against the harsh backdrop of the Berlin Wall, Andrzej Żuławski's 1981 cult classic Possession is a genre-defying chronicle of marriage in decay.

Featuring four of Spain’s most exciting young film and TV stars, first-time director Carol Rodríguez Colas’ Girlfriends is a fresh, sincere depiction of what it means to come to terms with who you are.

The debut fiction feature from director Macarena Astorga, The House of Snails is a slow burn psychological thriller filled with twists and turns that will have you on the edge of your seat.

Petite Maman shows respect for its audience and reverence for its central themes, opting not to over-explain its time travel logic, or even bother spending too much time ruminating on whether that's actually the case. Above all, this is a story about motherly love.

Ryusuke Hamaguchi’s second feature release of the last year is a beguiling three-in-one Lego set of lean, focused short-form storytelling.

Deliberate in pace yet nimble on its toes, After Yang lulls the audience into a world not too distant from the one we live in; serene and serendipitous in its own, melancholic way.

All in all, After Blue (Dirty Paradise) is a wild and weird dreamscape of a film, complete with glowing crystals, high fashion accessories, and no less than 25 mentions of the words “Kate Bush”

The Northman is an unyielding hell song of blood, dirt and firelight. Robert Eggers hasn't changed a bit and it's a blessing to us all.

Like a well thought out stage performance, Dreams on Fire aims not just to thrill, but also to move. Pulsing through its veins is a rich marriage of emotion and style, resulting in a film experience that commands attention, intoxicating the audience with an audio-visual assault on the senses.

One of the defining contentions of the film is who is justified in this situation, or rather who is the true captor and who is the true victim? Is it David, an obsessive programmer who didn’t think of the consequences of his actions? Or is it Al, a supercomputer who didn’t ask to be made but will stop at nothing to be free?

After being rejected for a “game changer” role, Nick Cage takes the job of entertaining eccentric millionaire superfan Javi (Pedro Pascal) at his birthday party in Spain. Things take an action-movie turn when the CIA recruits Nick to spy on Javi as they believe him to be an extremely dangerous cartel kingpin.

I could imagine this movie disappointing many crowds: the hardcore lore-centric fans, people who loved the first one and didn’t want change, people who didn’t like the first one even least a little bit, etc. But I can assure you of two crowds that really enjoyed this movie: children (because Jim Carrey seemingly resurrected The Grinch in this performance), and me. 

While not packing the usual one-two gut punch of most of its horror contemporaries, World’s Fair blends familiar mumblecore, coming-of-age and micro-budget horror elements into a film that’s greater than the sum of its parts, equally unnerving, hypnotic and experimental in the same breath.

Happening is one of those rare films that makes you think just as much as it makes you feel. Its subject matter is intense; a young girl Anne Duchesne becomes pregnant from a one-night stand and is suddenly caught between a painful crossroad wherein one path resigns her to a life of wasted potential and shame, while the other sets her free, only this path appears seemingly impossible to gain access to.

The Good Boss works very well as a corporate satire, with biting insights into how powerful people manipulate those around them in order to maintain said power, but it wouldn’t be the same without the central performance from Javier Bardem, who makes the film endlessly watchable and entertaining.

Some viewers may find Secrets of Dumbledore to be exactly what they want, after all it does offer a fair amount of fan service and proves there is still some fun to be had with this universe, but I can only speak from my personal experience, which was woefully unmoving.

As I was watching this film I couldn’t help but remember a certain A-list celebrity who recently told people to get off their asses and work. Gavel’s film is the perfect response to comments like this; it is just an added bonus that it happens to be an enthrallingly thrilling film too.

The new trend is “villain” films, and like most of its contemporaries, Morbius can’t commit to that promise, nor does it really commit to much else.