40 years ago, the release of Street Fighter made waves across video games and mainstream media, leaving a huge impact on anything it touched. 24 hours ago, Street Fighter (2026) premiered and I’m struggling to think of anything that made it unique.

Too much is done to didactically modernise the two and hammer home the central conflict of the novel: when should we be respectful and reserved and when should we be brash and honest?

Be sure to see Forgotten Island while it’s still in theatres. It is genuinely well-crafted, humorous, mature, and it speaks deeply into the human soul and what it means to have a friend.

La Bola Negra is undeniably a sweeping and decadent feat of filmmaking. It’s also the kind of politically complacent Oscar bait that should have been left in the past.

The question hanging over Sorkin’s head is whether he can steer his bastardised ship home to even an ounce of the filmmaking glory that Fincher achieved in 2010. As soon as the first intertitle –“Prologue: White Girl Wasted” – flashes up onscreen, it’s clear that he absolutely can’t.

The film is a political satire that plays on numerous different current affairs like the climate, the threats of nuclear war, and the rich businessmen who have swooned the heart of our politicians. But believe me, even by those descriptions, it is still somehow not what you think it is.

While this is certainly no Gone Girl, Verity is highly watchable, and is best consumed by suspending reality and not taking it too seriously.

While Heart of the Beast is not without its flaws, its heartfelt central relationship, beautiful cinematography, and emotional conclusion make it an enjoyable survival drama.

Once the film's title card comes along, there’s no turning back, and what follows is a fast paced, anxiety filled, jumpscare packed journey with an incredible end.

The Weight is a film that may not linger for an exceptionally long time due to a conventional script. However, thanks to well crafted tension and thrills, it makes for a very entertaining watch for the majority of its runtime.

28 years after the release of the cult classic original, Practical Magic 2 returns to give the audience the magical hijinks they’ve been waiting for – without any meaningful substance.

Na Hong-Jin’s first film in a decade is a three hour long sci-fi epic that is anything but. 

After three years in legal limbo after being written off for tax purposes by Warner Brothers, Coyote Vs Acme is finally being released to the masses, and it’s worth the wait.

Mārama is an instant modern horror classic, a masterpiece of indigenous storytelling, and deserves as much praise and recognition as other recent horror movies from this part of the world such as Talk to Me, Bring Her Back and Leviticus.

Joko Anwar continues to be a prolific filmmaker across all genres, and while he doesn’t always stick the landing, with Ghost in the Cell he has made a huge hit. It is a great ensemble piece filled with action, genuine comedy, incredible gore effects, and a meaningful commentary on corruption and empathy.

For what is meant to be a ‘sex-positive love letter to Gen Z’, Araki spends a lot of time making his younger characters suffer in I Want Your Sex, his first feature in over a decade.

For a film so dense with figurative language and imagery, what’s most startling about Blue Heron is its emotional directness. As intellectually rigorous as filmmaker Sophy Romvari’s examination of time and nostalgia becomes, it’s all in service of capturing the truly indescribable sensation of decades-long grief.

Species aims for the top of its class, but falls into the trap of trying too much, offering frustratingly little flesh to back up its lofty ambitions.

While Josephine may have big names like Tatum in its cast, a star is born with Reeves playing the titular role. It is not an overstatement to say that this is one of the best child performances of all time—Reeves is acting beyond her years and with such maturity, which feels like a parallel journey with the loss of innocence her character is forced to confront.

Like all of Wilson’s works, it’s a film that begins with one thing (concrete) and very quickly becomes about everything, recognising the socio-industrial ecosystem that governs the modern world.