Director Scott Mann creates some dizzying heights, but fails to lay the groundwork necessary for its committed actresses to really plant their feet on, resulting in a flick that's fun to gawk at for a while, but ultimately tires itself out trying to keep pace.

The broad strokes of the narrative follow a particular formula seen elsewhere, but the finer details of True Thing’s delivery offer enough of a unique shine to throw viewers off-balance for long enough for the predictability to go momentarily cold.

After the rise of, among other things, the #MeToo movement, this event fits into another, darker timeline. It’s within this context that the Netflix Original documentary, Trainwreck: Woodstock ‘99 strives to situate itself.

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.

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.

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.

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.

The highly anticipated third film of visionary Ex Machina and Annihilation director Alex Garland seemed primed and posed to be one of the most insightful, and timely, films of the year. An alluring blend of “woke” horror and psychological disturbia ready to spark riveting conversation and horrify us with the realities women must face on a day to day basis. 

More intimate, sensual and depressing than a whimsical period drama, Mothering Sunday is a breath of fresh air in a typically repetitive genre.

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.

One of the defining contentions of the film is who is justified in this situation, or rather who is the true captor and who is the true victim? Is it David, an obsessive programmer who didn’t think of the consequences of his actions? Or is it Al, a supercomputer who didn’t ask to be made but will stop at nothing to be free?

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.