Just a month after the release of Dev Patel’s Monkey Man we get yet another thrilling directorial debut entering into the action subgenre - putting emphasis on crazy fight choreography - in Moritz Mohr’s brand new sci-fi bonanza Boy Kills World.

There is a glimmer of hope with the upcoming Australian release of its sequel in June, The Three Musketeers: Milady, which may shed some light on the lacklustre narrative decisions in Part One, but as it stands D’Artagnan’s best is too fleeting, and settles itself far into the saturated market of generic blockbusters.

If you’re into German language biographical films set in Berlin, offbeat heroines, and sobbing until your eyes are red then From Hilde, with Love is the film for you.

Long-time fans of the franchise will be happy to know that Kingdom serves as a serviceable yet clunky inaugural instalment for a new trilogy – teasing a slew of new concepts which will undoubtedly enrich the mythos of this long standing series in the future.

Monster confronts viewers with an ambiguous ending, leaving us to decipher the truth of who really is the eponymous monster, but perhaps the objective truth is there are monsters in each and every one of us.

If decapitated heads, Tumblr-edit-worthy quotations about the human condition, traditional Slavic folklore, and harrowing cinematography are your thing, then look no further than Le Vourdoulak.

The Taste of Things serves up a complicated feast for the eyes, intrinsically tying its romanticisation of cooking as a love language to the identities and passions of its two leads.

Being able to see such a beautiful restoration on the big screen is worth the price of admission alone, and I could not recommend The Conformist more.

While Metal Skin may be uncomfortable or even unenjoyable viewing, it is a compelling, edge of your seat story of Australia’s male-dominated, rev-head culture, where burnt rubber and women who love fast cars are drivers of the male fantasy.

The Fall Guy is the rare blockbuster studio film that feels simultaneously old school and fresh in execution. It is incredibly funny, fast-paced and deeply romantic. At its core, however, the film is a love letter to the stunt community and the incredible work they do to entertain audiences.

Making sure to cater to both returning fans and new fans alike Code: White is by no means a perfect movie, but for what it is, it remains exemplary of good old fashion family fun.

Fremont isn’t a thrilling film, and perhaps one that requires an eager mood, but you could scarcely imagine leaving the cinema without a sense of distinct peace. 

In Divinity, writer-director Eddie Alcazar seems to have crafted a readymade cult object. A film completely furnished with textual references, grotesque violence, hyper-stylised visuals, and mixed media experimentation, seemingly destined to attract a small coterie of like-minded fans and repeat viewers. The only issue is that I can’t imagine anyone sitting through this twice.

Mami Wata truly has the ability to spellbind, yet keeps its feet rooted in a deeply nuanced point of interest: an ever-changing reckoning with modernity.

Guadagnino has served up a smash hit, and it’s up to audiences to decide what to do now that the ball is in their court.

It’s a light summer breeze of a film clearly aimed to bring joy to both parents and kids whilst still telling a compelling story, so some kind of deep underlying metaphor is unnecessary. Just go have fun watching a cartoon dog and a robot roller-skate to Earth, Wind & Fire! Your brain deserves a break.

Monkey Man tells the story of a nameless young man, referred to in the credits as “Kid” and using the self-applied alias “Bobby”, a fighter at an underground boxing ring in Yatana, as he attempts to infiltrate the ranks of the powerful upper class to enact violent revenge for the massacre of his village - a story that mirrors the Hindu epic of Hanuman, the white monkey. 

The First Omen is a quiet triumph for modern horror, understanding the delicate balance between terror and beauty, and between homage and innovation.

Galluppi’s mindfulness in crafting The Last Stop in Yuma County truly shows what outstanding stories can come from taking a leap in the dark.

Behind the flashing neon lights, Mars Express’ messy and complicated core is a delight to unpack and crucially, is without the comfort of easy answers. While it’s not exactly reinventing the wheel, its entangled approach to familiar concepts positions it uniquely, and is well worth the price of admission.