Quantum Cowboys is a bold expedition into the Wild West, the mind-boggling multiverse, and the very capacity and parameters of the cinematic form itself.

Like its predecessors, Chapter 4 indulges in its extravagance unapologetically and gives us some of the best action scenes not only in the franchise, but in cinema as a whole.

Fantastic Film Festival Australia is back in town, promising cinema without restraints.

We've gotten particularly nasty Ghostfaces two years in a row, but since their creator's passing, the actual films seem trapped in a creative rut, doomed to sacrifice the slick edge that the series was once celebrated for in service of broad appeal.

If you’re a fan of Pearl’s previous instalment X and expect it to have the same gritty, slasher, exploitation elements to the story, then you may have to limit your expectations for this film.

Oliver Hermanus’ Living is a film that doesn’t ask for much. It simply wants the audience to observe.

To Leslie is a very old-fashioned human drama; a straightforward character study with modest ambitions and a complete disinterest in modern trappings of spectacle, metacommentary, or narrative obfuscation.

All the Beauty is this wonderful study of the marginal, of someone with a heart uncorroded by time in the halls of power, who leverages the success of their life’s work to take on a pure, irredeemable evil.

Despite Ward and Colman’s impressive performances, and some beautiful Roger Deakins cinematography, Empire of Light is unfortunately weighed down by a messy screenplay that can’t untangle itself before the credits.

Writer-Director Carolina Cavalli’s debut Italian feature film Amanda follows the titular character as she sets about aggressively re-befriending her long-lost childhood friend turned recluse Rebecca.

As the feature debut from directors Nicholas D. Johnson and Will Merrick - the editors of Searching, the film goes to town on inventive editing techniques and uses all the comforts of technology that we take for granted, twisting them into complete discomfort for a layer of tension that stays through almost the whole film.

Director Lukas Dhont’s sophomore feature film Close explores the relationship between two best friends, Léo (Eden Dambrine) and Rémi (Gustav De Waele) as they begin high school.

We Are Still Here is aptly described by the saying “the whole is greater than the sum of its parts,” as it doesn’t particularly stand out for its technical or creative proficiencies, but rather because the message it manages is profound.

This is the way Phase Five of the Marvel Cinematic Universe starts — not with a bang, but with a family dramedy shrouded in visual effects and charming absurdity.

A powerful story about survival that bleeds hope through the linework.

With far less stripping and far fewer banger tracks than one would expect for a movie about stripping, I declare Magic Mike’s Last Dance an official flop.

Do you remember that feeling you'd get when you were a child, trying to go to the toilet but terrified of the dark hallway that led from your bedroom to the bathroom?

A symphony of cinema, bubbling with dark and subtly thrilling emotions, elevated by an incredible lead performance and anchored by adept direction.

However blunt its approach may be (and perhaps that obtuseness is key to something like this working for many audiences), The Whale succeeds on its emotional front, conveying a broader message of understanding and sympathy before judgement.

Vicky Krieps delivers her most achingly beautiful performance yet, as Empress Elizabeth of Austria, a figure endowed with all the spirit and boundless curiosity of woman, yet forced to undermine and erase herself amongst a culture, time and country that has little use for such traits in women.