Where the Crawdads Sing is a unique take on the who-dunnit genre, and though it lacks the punch of a satisfying conclusion, it still leaves a lasting impression.

Surprisingly funny, while at the same time using nuance as a blunt-force weapon, delivering crushing sadness, The Phantom of the Open subverts a typical focus.

While its lack of teeth in the back end of its runtime is somewhat of a letdown, and Derrickson may not quite recapture the highs of earlier works like Sinister, there's no doubt that The Black Phone is still an effective, nasty little horror flick.

Beautifully acted with two contrasting performances, Compartment No.6 subtly conceals its themes behind sharp, rapid dialogue and terrific sense of spatial continuity. 

Come one, come all! Readers rejoice for it is time to kill two birds with one stone as we rest our weary heads atop the mountains of education and entertainment. If you don’t know what you want to watch at the Melbourne Documentary Film Festival yet, please allow me to fill up your whole month with my personal 15 picks for knowledge worth gaining.

Thor: Love and Thunder offers a colourful, lively enough diversion that should sate appetites until the next offering arrives, even if it doesn't necessarily accelerate the hype train.

For a short movie, at roughly 80 minutes, the amount of carnage that is sewn into the lives of those who love Neil is barely a blip on the radar as he freewheels from beach to beach, beer to beer, and nap to nap.

Elvis isn’t a movie, it’s an event.

The engine that is entirely driving this show is simply the desire to show off one’s most true self. It just so happens that this radical act of vulnerability is also set against an iconic Britney mega-mix. Run, don’t walk.

CLUB NITE showcases a night out where the three friends, a straight girl, a drug-dealing pansexual and a Berlin-loving bisexual, who all want to attend three separate well-known Melbourne hotspots - Yah Yahs, a house party, and a rave at Yarra bend.

Webster’s Henry V is ultimately a disjointed and familiar take on the bard’s play. However, Harrington excels at recontextualising the play in its exploring the themes of war, nationalism and leadership through the prism of the twenty-first century. It may not be the most effective modernisation, but Harrington’s larger-than-life performance is certainly worth the watch.

It'd be hard to prime anyone for the journey the feature takes you on, and to do so would in part ruin the fun. It's a thunderous Pandora's Box of a film, a disorganised mixed bag of funhouse tricks that's rewarding sporadically, but always daring.

Set in the swingin’ 60’s, yet again following the hijinx of the minions after finally finding their purpose at the close of Minions, they immediately lose Gru again and retread the American countryside, this time to San Franbisco. 

A “quirky and unique spin on the animated fairy tale genre” that is actually just as cliche as the rest of them.

Lightyear is an absolute feat of digitised filmmaking and some of the best animation I’ve ever seen.

Simplistic, formulaic, and crowd-pleasing, The Kitchen Brigade plays it safe with emotional beats you’ve seen before, but its wholesome characterisation is guaranteed to melt your heart.

Acclaimed director Asghar Farhadi’s latest film A Hero proffers a complex moral parable that provokes deep thought about individual actions.

As blockbuster sequels grow increasingly more divisive and audiences more critical, is that enough? Can a film ride on the sway of dinosaurs and Jeff Goldblum alone? The answer is… kind of, actually.

Biographical films can at times garner the need to intellectualise and dissect the life of the individual and the film itself, Benediction is different. Benediction is meant to be felt.

Following the true story of 21-year-old Jewish graphic artist Cioma Schönhaus as he tries to survive day to day living in Nazi Occupied Berlin in 1942, The Forger is a harrowing story of deception and survival with a surprisingly optimistic protagonist.