A testament to the quality of this film and its handling of suspense […] is that although there are missiles and all manner of other Fast and Furious-esque set pieces, nothing is more thrilling than a low-fi, nostalgic dog fight using nothing more than bullets and mean words. 

Firestarter is a disappointingly damp affair, a film that's all fuse; frustratingly flickering between stupid and boring.

The bizarre true story of a WWII operation that saw British intelligence plant false documents on a corpse and leave it for the Nazis to find, Operation Mincemeat is nonetheless a very familiar piece of modern British mid-scale filmmaking.

Baraka is a must-see for anyone who finds themselves with a proclivity towards social sciences, theology, or spirituality.

Shackled by crowd-pleasing and Disney-pleasing obligations, the greatest victory of the MCU’s latest is, blessedly, that it’s a Sam Raimi Film.

Deliberate in pace yet nimble on its toes, After Yang lulls the audience into a world not too distant from the one we live in; serene and serendipitous in its own, melancholic way.

The Northman is an unyielding hell song of blood, dirt and firelight. Robert Eggers hasn't changed a bit and it's a blessing to us all.

After being rejected for a “game changer” role, Nick Cage takes the job of entertaining eccentric millionaire superfan Javi (Pedro Pascal) at his birthday party in Spain. Things take an action-movie turn when the CIA recruits Nick to spy on Javi as they believe him to be an extremely dangerous cartel kingpin.

I could imagine this movie disappointing many crowds: the hardcore lore-centric fans, people who loved the first one and didn’t want change, people who didn’t like the first one even least a little bit, etc. But I can assure you of two crowds that really enjoyed this movie: children (because Jim Carrey seemingly resurrected The Grinch in this performance), and me. 

While not packing the usual one-two gut punch of most of its horror contemporaries, World’s Fair blends familiar mumblecore, coming-of-age and micro-budget horror elements into a film that’s greater than the sum of its parts, equally unnerving, hypnotic and experimental in the same breath.

Some viewers may find Secrets of Dumbledore to be exactly what they want, after all it does offer a fair amount of fan service and proves there is still some fun to be had with this universe, but I can only speak from my personal experience, which was woefully unmoving.

The new trend is “villain” films, and like most of its contemporaries, Morbius can’t commit to that promise, nor does it really commit to much else.

Wanting to dip your toes into arthouse cinema, or are you a seasoned veteran looking for something that's out of this world bonkers? Look no further, because from April 21st until May 6th, Fantastic Film Festival Australia is back in town, and it's as bold and beautiful as ever.

At its core the narrative is great on paper: the idea of taking traditionally villainous criminals and attempting to redeem them is ripe with potential, potential reaped by films like last year’s The Suicide Squad, and even Dreamworks’ own Megamind, but it’s the tropes it ends up using to get there that make it feel like it’s largely re-treading familiar ground.

Koyaanisqatsi is a word used by the Hopi peoples of northeast Arizona which literally translates to “corrupted/chaotic life”, though the film prefers to define it as “life out of balance”, among other similar interpretations.

Equal parts The Texas Chainsaw Massacre and Boogie Nights, [X] follows a film crew as they stay at an elderly couple’s farm to shoot a pornographic film, unknown to the couple themselves.