Funny Pages screams new-age Funny People to me – and that’s a big compliment in my books. 

Much like Jordan Peele’s first two instalments, Get Out and Us, his new flying-saucer-mystery Nope is anything but predictable.

Looking at the poster for Bullet Train is a testament to the sheer amount of content and attention to detail that you’re going to find when you sit down for this one, which you should do at your earliest convenience.

Largely free of overt fan service or nostalgia-baiting, Prey is the rare modern prequel that dares to use its framework to propel the series in new directions, widening the universe without overcrowding it with familiar characters or obnoxiously hinting at an immediate sequel.

Something in the Dirt offers up a bounty of intriguing morsels, and to witness filmmakers attempt so much with so little is inspiring in its own right.

This is a film for anyone that has ever wanted to look behind the curtain, and find out how the wizard’s magic machine might work. 

Above all else, Good Luck to You, Leo Grande is a film with lots of heart, which can be quite refreshing amidst a sea of blockbusters, CGI and big sound design.

Well, this one will do well at parties, presentations or generally just any television that entertains the passive attention of passers-by. The United States of America is certainly not what I expected, although it is exactly what the title promises. 

This film, whilst deeply devastating and distressing, needs to be watched and watched again.

How do you review a movie that has a complete tonal shift about halfway through without invalidating the impact of the entire first half?

On the Count of Three isn’t your parents' anarchy flick - this is certainly no Ferris Bueller.

Outside of some stunning cinematography and promising themes, The Forgiven feels too inconsequential to be engaging. Hampered by universally unlikable characters and simple moral messaging, the story unfortunately fails the fantastic cast.

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.

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.

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.

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.

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.