Don’t expect a barrel of laughs or a feckin’ good time, but McDonagh’s latest is a powerful dark comedy that’ll have you thinking about your own mental state long after you leave the cinema.

The Lost King can pretend like it’s focusing on Richard, but the truth is they could change the title to The Lost Queen, and nobody would bat an eye.

Moja Vesna rewards those with the patience to dig into the details.

While some viewers may appreciate All Jacked Up and Full of Worms' feverish blend of influences spanning Henenlotter, Cronenberg and Waters, unfortunately it winds up much like its protagonists, lost in the primordial ooze; buried while attempting to become one with the dirt.

A film whose subject matter should have been treated with the utmost care, She Said can only be described as an overall meagre, flat attempt at capturing a moment in time that will be remembered for its fervent rage and violent passion.

Much Ado About Nothing, unlike the name suggests, actually packages up quite a few happenings before recounting them in a kaleidoscopic stage that seems to have a dozen or two aces tucked up its sleeve.

A grim look at international relations through the lens of a hostile Nicaragua, Claire Denis’ latest ‘romantic thriller’ Stars at Noon is unfortunately lacking in both romance and thrills.

Offering a slice of pulpy, moralistic sci-fi that feels like a throwback to before 2D animation had died, Strange World is good, lighthearted fun, gesturing gently at the hard-headed nature of father-son relationships.

Combining bitter comedy with the sensibilities of an A24 horror film, The Menu marks a cool addition to the genre and establishes itself as one of the most exciting blockbusters of this year.

Playing like an emotional middle ground between Badlands and the Twilight saga, Luca Guadagnino's new Timothee Chalamet-starrer Bones and All is a romantic cannibal road movie, presenting a tale of both the impossibility and inevitability of love; how even in the bleakest of circumstances, when we least expect, or even want it, romance can blossom like a weed in the desert.

Herzog has created a film that magnifies the sensitive balance of nature, simultaneously terrifying and touching, the parallels of science and art, the juxtaposition of the volcano’s fascinating beauty yet ultimate destructive force, and the deaths and the lives of Katia and Maurice Krafft.

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.

The distinct art style eventually grows on you and the symbolism of its features begins to stand out as colours fade from characters and stencils begin to fill the room.

Halloween may have come and gone, but I have one last spooky movie to talk about - director/special effects extraordinaire Damien Leone's 138-minute splatterfest epic Terrifier 2, a film that came with reports of people fainting and vomiting due to its incredibly vile and gratuitous violence.

Once upon a time in Hawkins, Indiana, there lived a people chuffed with cliché. Their lives were a hit and their town never missed, what an unpleasant mess they’ve now found themselves in.

At The Seagull, I felt welcome. 

In an earnest love note to the LGBTQIA+, Bros ushers in an ambitious standard for bigscreen queerdom with some grounded perspectives, sweetspot cultural references and an all queer cast and crew.

At its most essential, the film is a story of a young Jewish boy who befriends a Black boy, and the confusing strata of privilege and injustices that come to define his place in late-20th-Century America.

The real achievement of this ripping action flick, bless its existence, is its characters and themes: there’s a full meal here, and all of it is delicious.

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