Serviceable but not particularly functional, Five Nights at Freddy's is a horror film that's as clunky and awkward as the lumbering animal robots it revolves around.

Despite some initial promise, The Exorcist: Believer is a half-hearted attempt at best, and complacent with mediocrity at worst.

For all of its idiosyncrasies, Asteroid City is an out-of-this-world homerun for its director, ranking up there with Wes' very best.

Oppenheimer is a freakishly good match for Christopher Nolan, and it may well be his best work.

Story comes second and spectacle takes centre stage in The Super Mario Bros. Movie.

A symphony of cinema, bubbling with dark and subtly thrilling emotions, elevated by an incredible lead performance and anchored by adept direction.

Say it with me: M3GAN is hip. M3GAN is happening. M3GAN is the moment.

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.

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.

Halloween Ends concludes this trilogy on a high note, with much more confident direction than the previous film, and the bold cinematography of a 70’s slasher but with that same modern sheen, smooth camera movement, and stark, moody lighting.

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

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.

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. 

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.

Firestarter is a disappointingly damp affair, a film that's all fuse; frustratingly flickering between stupid and boring.

The Northman is an unyielding hell song of blood, dirt and firelight. Robert Eggers hasn't changed a bit and it's a blessing to us all.

At its core the narrative is great on paper: the idea of taking traditionally villainous criminals and attempting to redeem them is ripe with potential, potential reaped by films like last year’s The Suicide Squad, and even Dreamworks’ own Megamind, but it’s the tropes it ends up using to get there that make it feel like it’s largely re-treading familiar ground.