The Substance is one of those films where you want to look away but can’t. It’s exploitative, revolting, ridiculous, and completely absorbing body-horror movie fun.
In Speak No Evil, director James Watkins invites viewers on a disturbing journey where a seemingly perfect weekend retreat unravels into a twisted psychological nightmare.
The Last Stop in Yuma County delivers a suspenseful and wildly entertaining crime thriller, brimming with eccentric characters, standout performances, and unexpected twists.
Life After Fighting is a a gritty, low-budget martial arts flick that plays like a love letter to the bone-crunching action movies of the 80s and 90s.
In a Violent Nature combines familiar horror tropes with stunning atmospheric dread to create a unique, if somewhat polarising slasher film experience.
A surprising addition to the deep well of independent Aussie cinema, Birdeater is a truly impressive first outing.
Deadpool & Wolverine is a film that delivers on its promise of laughs and action, but it may not cater to all tastes.
The finale of Ti West and Mia Goth’s trilogy of murder, porn and fame, MaXXXine, lovingly injects 80s Hollywood sleeze and delights in every drop of corn syrup blood.
In the recent surge of new-wave horror exploding on the film scene, no one could have predicted the excellence that is Nicolas Cage in Longlegs.
LaRoy, Texas hits the mark as a quirky crime caper, just falling short of matching the quality of the films and filmmakers it emulates.
Richard Linklater’s Hit Man is a unique, quirky, and captivating film with a story that you wouldn’t believe actually happened.
Guy Ritchie strikes gold again with The Ministry of Ungentlemanly Warfare, a film that exudes style and coolness while delivering heart-pounding action and an engaging story.
For those who were anxious that Inside Out 2 would be another watered-down sequel, rest assured, this is a powerful film with emotional intelligence, stunning visual storytelling, and it may just be the funniest movie of the year.
What do you get when you combine a laundry list of horror movie clichés with writing and directing that fundamentally misunderstands its own source material while clinging to the assertion that horror is the sum of its worst tropes? Well.
Bertrand Bonello’s new film The Beast is incredible. Abundant in scope and brave in its ambition, this is the kind of movie that, for all the right reasons, begs the question, “How did this get made?”.
The Garfield Movie marks a triumphant return of our favourite lasagne-loving feline to the big screen, offering a delightful mix of humour and heart, appealing to viewers of all ages.
