Millies Lies Low is an effective tragicomic story of the way we create truth to find our own, as well as the lengths we will go to and things we will have to lose to get to it.

Perhaps the real Going To Paris was the friends that Mrs. Harris made along the way.

While the plot is largely predictable, following the tropes and clichés of dozens of films before it, Cudi’s presence firmly sells this product as something of his own.

Belli Ciao isn’t the most high-brow of satires, and in some parts the laughs are a bit sparse, but there are a couple of genuine ones for sure.

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

Absurdly and disgustingly hilarious.

A weirdo nightmare comedy going at exactly 2 horsepower (because it features two horses). 

You’ll likely not want to eat sushi again (or at least not for a while) after watching this.

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

I wish life was as simple as it appears in Mom’s Cat, a world where you can really just be what you want to be.

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.

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. 

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.

Everyone I asked about The Bob’s Burgers Movie didn’t know it existed, and I’m ashamed to say this slipped under my radar up until its release as well. If it is destined for hidden gem status, it will fit right in with the show’s legacy in this truly underrated franchise.

Complete with a Marlon Brando surrogate and nods to B-movie exploitation, it's clear that for the most part, Pompo The Cinéphile has its heart in the right place. Viewed purely as blissful escapism, it's a sugar-coated ode to the idea that with enough passion, anyone can make it.

Personally, the whole meta-inception-story-within-a-story is not my usual cup of tea. However, Official Competition doesn’t fade into using conventions of the trope. What separates it, is that rather than focusing on production and the movie-making process it's focused entirely on the actors and their craft. 

A funny and heart-warming liberation story for women who have been afraid to ask for what they want – at home, at work and in the bedroom.

I haven’t seen a movie juggle the human range of emotions with such ease in years, although I can recall one movie that did it pretty well not too long ago: Paddington [1].

Featuring four of Spain’s most exciting young film and TV stars, first-time director Carol Rodríguez Colas’ Girlfriends is a fresh, sincere depiction of what it means to come to terms with who you are.

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.