Lurker is an impressive independent film that presents itself as a cautionary tale for the modern and inter-connected world we live in today. 

Christmas Karma certainly isn’t boring, but not in the way you would want it to be.

Now You See Me: Now You Don’t is a magic act you’ve seen before.

A slow burn, but a gripping one, Two Prosecutors is among the most fascinating films you’ll see this year.

Wicked: For Good is good, not great. But that’s okay - it still manages to hold space for an extremely emotionally satisfying ending.

Oz Perkins’s Keeper is a film that wears its intentions on its sleeve: intimate horror wrapped in relationship anxiety, an exercise in dread that occasionally achieves something quietly memorable.

Ultimately, The Running Man (2025) is a curious beast: a film that wants to critique spectacle while indulging in it, that gestures toward emotional depth but never earns it.

If you’re here for scale, spectacle, and a smartly realised peek into the Predator society, Badlands is a satisfying hunt.

Melbourne loves cinema, and yet it struggles to make films of the high standard it adores. This film is an exemption; a total leap out of the water that shows filmmakers in this city that they, too, can make a movie of the same calibre.

If you’re into lighthearted WWI films, chorals, the beauty of Yorkshire, and Ralph Fiennes’s captivating performance then The Choral is the film for you. 

Die My Love excels as a showcase for Lawrence and Pattinson, two actors at the top of their A-game.

Happyend takes you through the lives of five teenagers who are navigating the turbulent waters of a near-future Japan.

Fans of Justine Triet’s Anatomy of a Fall and Julia May Jonas’ Vladimir will enjoy After the Hunt’s refusal to do the thinking for you.

Shelby Oaks is a fine horror film with flashes of promise, but too many inherited ideas and not enough discernible passion.

Where the first film offsets its crude side with a palpably warm heart, Goremageddon plays like a reunion tour that’s fun for the diehards, but very much has the air of desperation that comes with one final hurrah.

Through a series of confounding creative decisions, Shell decries superficiality, yet refuses to look anything less than polished.

Arriving a mere two years after the first film scared up a minor success at the box office, Scott Derrickson’s Black Phone 2 leans into its lineage and then sharpens its teeth […]

Bugonia refuses the safety of well-worn genre fare and instead thrives in its own damp moral fog.

Life After (2025) lifts heavy in its turbulent journey through moral dilemmas.

It swings so big that its highs are much more memorable than its lows.