How do you review a movie that has a complete tonal shift about halfway through without invalidating the impact of the entire first half?

On the Count of Three isn’t your parents' anarchy flick - this is certainly no Ferris Bueller.

Outside of some stunning cinematography and promising themes, The Forgiven feels too inconsequential to be engaging. Hampered by universally unlikable characters and simple moral messaging, the story unfortunately fails the fantastic cast.

Where the Crawdads Sing is a unique take on the who-dunnit genre, and though it lacks the punch of a satisfying conclusion, it still leaves a lasting impression.

Surprisingly funny, while at the same time using nuance as a blunt-force weapon, delivering crushing sadness, The Phantom of the Open subverts a typical focus.

While its lack of teeth in the back end of its runtime is somewhat of a letdown, and Derrickson may not quite recapture the highs of earlier works like Sinister, there's no doubt that The Black Phone is still an effective, nasty little horror flick.

Beautifully acted with two contrasting performances, Compartment No.6 subtly conceals its themes behind sharp, rapid dialogue and terrific sense of spatial continuity. 

Thor: Love and Thunder offers a colourful, lively enough diversion that should sate appetites until the next offering arrives, even if it doesn't necessarily accelerate the hype train.

For a short movie, at roughly 80 minutes, the amount of carnage that is sewn into the lives of those who love Neil is barely a blip on the radar as he freewheels from beach to beach, beer to beer, and nap to nap.

Elvis isn’t a movie, it’s an event.

Webster’s Henry V is ultimately a disjointed and familiar take on the bard’s play. However, Harrington excels at recontextualising the play in its exploring the themes of war, nationalism and leadership through the prism of the twenty-first century. It may not be the most effective modernisation, but Harrington’s larger-than-life performance is certainly worth the watch.

It'd be hard to prime anyone for the journey the feature takes you on, and to do so would in part ruin the fun. It's a thunderous Pandora's Box of a film, a disorganised mixed bag of funhouse tricks that's rewarding sporadically, but always daring.

A “quirky and unique spin on the animated fairy tale genre” that is actually just as cliche as the rest of them.

Lightyear is an absolute feat of digitised filmmaking and some of the best animation I’ve ever seen.

Simplistic, formulaic, and crowd-pleasing, The Kitchen Brigade plays it safe with emotional beats you’ve seen before, but its wholesome characterisation is guaranteed to melt your heart.

Acclaimed director Asghar Farhadi’s latest film A Hero proffers a complex moral parable that provokes deep thought about individual actions.

As blockbuster sequels grow increasingly more divisive and audiences more critical, is that enough? Can a film ride on the sway of dinosaurs and Jeff Goldblum alone? The answer is… kind of, actually.

Biographical films can at times garner the need to intellectualise and dissect the life of the individual and the film itself, Benediction is different. Benediction is meant to be felt.

Following the true story of 21-year-old Jewish graphic artist Cioma Schönhaus as he tries to survive day to day living in Nazi Occupied Berlin in 1942, The Forger is a harrowing story of deception and survival with a surprisingly optimistic protagonist.

The highly anticipated third film of visionary Ex Machina and Annihilation director Alex Garland seemed primed and posed to be one of the most insightful, and timely, films of the year. An alluring blend of “woke” horror and psychological disturbia ready to spark riveting conversation and horrify us with the realities women must face on a day to day basis.