Following a seemingly idyllic family as the daughter [..], winds up raising a grotesque creature with whom she shares a telepathic connection, the film uses horror as a vessel to explore themes of vanity, coming-of-age, and beauty, while also offering up a healthy dose of criticism aimed squarely at family vloggers.

Unashamedly self-indulgent and barely cognizant of any sort of budgetary limitation […], Miami Connection is wicked fun for the midnight movie crowd that'll have you puzzling over how a movie like this even got made.

A peak behind the Iron Curtain exponentially aided in submerging myself into the story, one that relished in exploring the different ways people learn to accept themselves. Some just don’t, which leads to one of the most frustrating, yet compelling, revelations Firebird presents to its audience.

Personally, the whole meta-inception-story-within-a-story is not my usual cup of tea. However, Official Competition doesn’t fade into using conventions of the trope. What separates it, is that rather than focusing on production and the movie-making process it's focused entirely on the actors and their craft. 

The bizarre true story of a WWII operation that saw British intelligence plant false documents on a corpse and leave it for the Nazis to find, Operation Mincemeat is nonetheless a very familiar piece of modern British mid-scale filmmaking.

A funny and heart-warming liberation story for women who have been afraid to ask for what they want – at home, at work and in the bedroom.

Baraka is a must-see for anyone who finds themselves with a proclivity towards social sciences, theology, or spirituality.

Jonathan Alley’s version of David McComb’s life is poetic and striking, positioning itself as a deeply affecting Australian story.

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?