The broad strokes of the narrative follow a particular formula seen elsewhere, but the finer details of True Thing’s delivery offer enough of a unique shine to throw viewers off-balance for long enough for the predictability to go momentarily cold.

While there's a case to be made for its occasional pops of glitter and gore, Sissy ends up firmly in the realm of meh-core, a film that isn't offensively bad but is somewhat of a chore because of its close proximity to mediocrity - a horror movie that, like the title might suggest, is scared of its own identity.

Unique challenges face us all in trying to achieve self-discovery, but for Blaze it’s a little more tumultuous than what you’d expect. 

Standing at the very peak of Noé's filmography with an uncharacteristically mature handling of its subject matter, Vortex is a haunting reminder of the ephemeral nature of life, and a touching ode to the memories that accumulate over the course of one.

While Decision to Leave might not be Park Chan-wook’s best, it is still an original mystery by a world-class artist at the top of his game.

Funny Pages screams new-age Funny People to me – and that’s a big compliment in my books. 

Much like Jordan Peele’s first two instalments, Get Out and Us, his new flying-saucer-mystery Nope is anything but predictable.

Looking at the poster for Bullet Train is a testament to the sheer amount of content and attention to detail that you’re going to find when you sit down for this one, which you should do at your earliest convenience.

Largely free of overt fan service or nostalgia-baiting, Prey is the rare modern prequel that dares to use its framework to propel the series in new directions, widening the universe without overcrowding it with familiar characters or obnoxiously hinting at an immediate sequel.

Something in the Dirt offers up a bounty of intriguing morsels, and to witness filmmakers attempt so much with so little is inspiring in its own right.

This is a film for anyone that has ever wanted to look behind the curtain, and find out how the wizard’s magic machine might work. 

Above all else, Good Luck to You, Leo Grande is a film with lots of heart, which can be quite refreshing amidst a sea of blockbusters, CGI and big sound design.

Well, this one will do well at parties, presentations or generally just any television that entertains the passive attention of passers-by. The United States of America is certainly not what I expected, although it is exactly what the title promises. 

This film, whilst deeply devastating and distressing, needs to be watched and watched again.

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.