The Promised Land sheds light on a dark but important part of Denmark’s history. It is a superbly made film that is boasted by powerful performances and the strength of Mikkelsen’s screen presence. 

Inside Out 2 is another easy home run for Pixar, especially when it has a strong message that everyone can relate to.

To put it bluntly, The Exorcism is an atmospherically stagnant cinematic offering akin to a long walk down a windy beach to a café that isn’t open.

If you’re into complex sinners, the inverse of the hot priest from Fleabag, provocative theatre, and social hypocrisy, then Ghosts is the play for you. 

Foreign Language seems to be the ultimate story of the girlhood experience.

There's a decent helping of funny-bad horror movie moments that include a particularly saucy burger, the ol’ spontaneously exploding motorcycle trick, and a singular rat being treated as if it's the most terrifying creature on the planet, but the overall experience is about as satisfying as eating soup with a fork.

At the end of the day this is a reasonably satisfying and serviceable entry in the series, a Jerry Bruckheimer production through and through, and possibly my second favourite behind Bad Boys II.

While the 87-minute-long film at times moves at a glacial pace, the stunning cinematography by Claire Mathon (Portrait of a Lady on Fire) and the eerie strings of Mahler's Symphony No. 5 fuel the rising tension and keep the audience engaged.

Rewatching The Phantom Menace sent me far beyond the realms of good or bad; I left with an admiration for a deeply strange film, and a slight cynicism that we may never quite see the likes of it again.

Not so much applying brakes to the franchise as it is shifting gears, Furiosa is a triumphantly Aussie blockbuster.

The Deep Dark just doesn’t quite dig deep enough, uncovering a hole that's barely big enough to bury itself in.

This is ultimately a film about power and rebellion, and it is within the interplay of the two subjects that it shines.

Just a month after the release of Dev Patel’s Monkey Man we get yet another thrilling directorial debut entering into the action subgenre - putting emphasis on crazy fight choreography - in Moritz Mohr’s brand new sci-fi bonanza Boy Kills World.

There is a glimmer of hope with the upcoming Australian release of its sequel in June, The Three Musketeers: Milady, which may shed some light on the lacklustre narrative decisions in Part One, but as it stands D’Artagnan’s best is too fleeting, and settles itself far into the saturated market of generic blockbusters.

If you’re into German language biographical films set in Berlin, offbeat heroines, and sobbing until your eyes are red then From Hilde, with Love is the film for you.

Long-time fans of the franchise will be happy to know that Kingdom serves as a serviceable yet clunky inaugural instalment for a new trilogy – teasing a slew of new concepts which will undoubtedly enrich the mythos of this long standing series in the future.

Monster confronts viewers with an ambiguous ending, leaving us to decipher the truth of who really is the eponymous monster, but perhaps the objective truth is there are monsters in each and every one of us.

If decapitated heads, Tumblr-edit-worthy quotations about the human condition, traditional Slavic folklore, and harrowing cinematography are your thing, then look no further than Le Vourdoulak.

The Taste of Things serves up a complicated feast for the eyes, intrinsically tying its romanticisation of cooking as a love language to the identities and passions of its two leads.

Being able to see such a beautiful restoration on the big screen is worth the price of admission alone, and I could not recommend The Conformist more.