Almodóvar effortlessly manages to create a complex narrative with two central characters that is still easy to follow, but does not offer to hold the audience’s hand, encouraging watchers to put the pieces together themselves, and possibly come to their own conclusions long before even the characters do.

No longer will we see silly Shaggy from Scooby Doo stabbing his friend before getting stabbed himself… No, no, no. Scream will make you squirm as the knife twists in each subsequent teen.

The story is of a group of scientists (lead by characters played by Leonardo DiCaprio & Jennifer Lawrence) who discover a large “planet-killer” comet is going to strike the earth in half a year, and the bureaucratic nightmare of trying to get the people in charge of the United States, and the world, to do something about it.

Although I’ll never get those 82 minutes back, I have no regrets at all, I’d even be willing to spend another 82 on a rewatch.

In short, Mikey, a washed-up porn star, abruptly turns up to his estranged wife’s house in his hometown of Texas, battered and bruised and with no baggage in tow.

When lasers fly from the Ghost Gun as the Ecto-1 shreds the shaking streets of Summerville, that’s when Afterlife shines brightest, with stunning practical effects instilling the same love of the original Ghostbusters appreciated immensely throughout Afterlife.

Licorice Pizza is a relatively plotless assortment of scenes, where around every corner lurks an inspired filmmaking flourish, often in what feels like a throwaway moment… whether it’s a perfect (and I mean perfect) soundtrack choice, or a genius series of cuts: all of a sudden you realise you’re seeing something magical.

Coen’s first directorial effort without brother Ethan couldn’t feel further from prior works like The Big Lebowski and Burn After Reading, but a tale told by an idiot this is not.

The latest movie in the Spider-Man franchise continues the webslinger’s penchant for redefining what cinema can achieve.

Nine Days makes the most of the short time it has on the screen, a powerful lesson that it spends every waking minute exploring as the clock continuously counts down and the existential dread in finality begins seeping in.

My infatuation with the truffle schtick is the absurdity in it. Like I said, sure, this could certainly happen today. But how twisted is director Michael Sarnoski, in his directorial debut, to make us even use the phrase ‘truffle underworld’.

This is a bittersweet story of the powerful role that film plays in people’s lives beyond storytelling alone.

Another fantastic endeavour from one of the world’s biggest, sort-of non-existent bands, and I can’t wait to see what’s next.

If you like opera, rags to riches tales, opulence, and just talented women who know they’re gifted and see no reason to hide it away, then Marjorie Lawrence: The World at her Feet is the documentary for you.

The Worst Person in the World, coming to Australian theatres this month after a splashy debut at Cannes, is the kind of story that can knock you on your heels – its saga of constant, vague doubt about one’s own path in life is achingly familiar.

The Card Counter is an exceptionally packed movie, one starring Oscar Isaac, Willem Dafoe and with help behind the scenes from Martin Scorsese. It’s just a jaw-dropping shame that this is the movie to teach us all that even the greats have their off days.

You will not be taken back by such gripping immersion again for a very long time. Dune has earned its spot as 2021’s most anticipated movie.

Why is a rodeo rider sent to modern-day Mexico to smuggle a child? Why is a 91-year-old geriatric the only man who can get it done? I don’t know.

Venom: Let There Be Carnage is a wild ride through unexplored terrain in recent superhero – err... I mean, anti-hero(?) – movie history.

Eternals toys with the idea of human evolution, tracing our timeline through its century-spanning plot and pondering the effect of nature vs nurture on a grand scale.