Goodrich may not be particularly groundbreaking, and there are definitely other slightly better movies out there like it. However, it’s so endearing that it is impossible not to be charmed, with Keaton being the pièce de résistance.

As the saying goes, the journey is more important than the destination, which makes it a shame that Blitz feels more like a scrapbook of contrived wartime escapades. 

Eva Nathena’s debut feature film, Murderess, adapted from Alexandros Papadiamantis’s classic novel I Fonissa, offers a hauntingly raw portrayal of femicide, intergenerational trauma, and the weight of patriarchal societies in early 20th-century Greece.

If you’re into switch-off-and-enjoy movies, ruining professional relationships, hilarious flashback montages, and alcoholic priests, then Hear Who’s Talking is the film for you. 

Here unfortunately stands as an excessively shmaltzy affair incapable of capitalising on the potential of its intriguing premise.

Kneecap follows a fictionalised origin of the Irish rap group Kneecap, pioneered by brothers Liam Óg and Naoise Ó Hannaidh.

Unbreakable is a celebration of Dokic as both a player and a person, cementing herself as one of the greatest names in tennis and a true role model.

Memory is bleak and hopeful at the same time, anchored by two excellent performances and a tender approach that takes its subject matter seriously. It demands patience and won’t be for everybody, but succeeds nevertheless. 

Smile 2 is a worthy sequel that, while not quite as groundbreaking as its predecessor, still offers plenty of great elements.

Encapsulating the unpredictable freneticism which helped form the genesis of its namesake, Saturday Night offers a compelling, if imperfect, peek behind the veil which concealed the chaos.

While Venom: The Last Dance can’t quite save Sony’s universe, it is still leaps and bounds ahead of some of its other entries.

Overall, Terrifier 3 proves that a little Yuletide seasoning and some punchy editing go a long way to finally giving Art the film he clearly deserves, a raucous and thoroughly cruel slasher fiesta that's sure to be a Halloween season hit.

Super/Man is a remarkably grounded and thoughtful profile of a man whom we all believed could fly – and maybe we still do.

It's interesting that for all the film's grappling with Arthur's identity crisis, Folie à Deux winds up having one of its own

Margherita Vicario’s directorial debut is a lively feature that sings with heartfelt moments and comedic witticisms alike, pulling audiences in for a story that is nothing short of glorious.

SK Dale’s direct-to-streaming suckfest Subservience, […] dares to ask the brave question “what if we made the robot… sexy?”

Prima Facie is a play that refuses to be taken at face value.

If you like pretty Italian towns then you might find some enjoyment, but if you're looking for a compelling film I suggest you look elsewhere.

With strong performances, and a compelling narrative that deviates just enough from the original, Speak No Evil is worth a hearty recommendation for fans of the genre.

It's hard to say how the film will be received by audiences now, but it is sure to have an impact.