Rocketing off at a Scorsese-Esque pace, money changes hands, morals are compromised, and men get covered in explosive elephant diarrhoea, which sums Chazelle’s 3-hour epic up quite well as it is striking, explorative, inspired, and at times flat-out-hilarious. 

While there is much to talk about for this film’s context, Nakahira keeps the narrative in focus with contemporary editing and exciting cinematography so that Crazed Fruit can shine.

Say it with me: M3GAN is hip. M3GAN is happening. M3GAN is the moment.

For Spielberg, the world makes sense through the dreamlike lens of filmmaking. The Fabelmans manages to conjure cinematic spectacle out of family drama with embracive character studies and an unyielding recount of bittersweet youth.

The true purpose of this kind of movie is to shock, and shock it does.

Summer of Soul is undoubtedly a stunning blend of art and rebellion not likely to ever be seen again on our screens.

Guillermo del Toro’s Pinocchio is a breath of fresh air in the animated feature landscape.

Mustang follows the story of five young girls growing up in rural Turkey, as they navigate their youth and the looming social expectations of marriage and purity.

While detractors of the first film will likely not be persuaded by Avatar 2: Aquatic Boogaloo's flashy 3D gimmicks, those on the fence or otherwise still in love with the first film […] will be pleasantly surprised to hear that not only was The Way of Water worth the wait, but it also surpasses the heights of the first film.

Maybe skip the popcorn for this one, but make sure you climb aboard for one of the best films of the year.

What are you expecting from a Sony rendition of a decades old kid’s cartoon strip about a singing crocodile, adapted for the big screens for 2022 with Shawn Mendes taking the lead as the titular Lyle, the crocodile?

Don’t expect a barrel of laughs or a feckin’ good time, but McDonagh’s latest is a powerful dark comedy that’ll have you thinking about your own mental state long after you leave the cinema.

The Lost King can pretend like it’s focusing on Richard, but the truth is they could change the title to The Lost Queen, and nobody would bat an eye.

Moja Vesna rewards those with the patience to dig into the details.

While some viewers may appreciate All Jacked Up and Full of Worms' feverish blend of influences spanning Henenlotter, Cronenberg and Waters, unfortunately it winds up much like its protagonists, lost in the primordial ooze; buried while attempting to become one with the dirt.

A film whose subject matter should have been treated with the utmost care, She Said can only be described as an overall meagre, flat attempt at capturing a moment in time that will be remembered for its fervent rage and violent passion.

Much Ado About Nothing, unlike the name suggests, actually packages up quite a few happenings before recounting them in a kaleidoscopic stage that seems to have a dozen or two aces tucked up its sleeve.

A grim look at international relations through the lens of a hostile Nicaragua, Claire Denis’ latest ‘romantic thriller’ Stars at Noon is unfortunately lacking in both romance and thrills.

Offering a slice of pulpy, moralistic sci-fi that feels like a throwback to before 2D animation had died, Strange World is good, lighthearted fun, gesturing gently at the hard-headed nature of father-son relationships.

Combining bitter comedy with the sensibilities of an A24 horror film, The Menu marks a cool addition to the genre and establishes itself as one of the most exciting blockbusters of this year.