On the Line is a shoddy attempt at a “Phone Call Thriller.”
Kung Fu Panda 4 returns eight years later to continue Po’s journey as the Valley’s Dragon Warrior. He’s defeated his greatest foes, he’s respected by all, and he’s gained peak enlightenment, so then, what’s next for our loveable panda?
Ghostbusters: Frozen Empire is a charming yet convoluted romp through the world of the Ghostbusters.
The ANZAC story is an intrinsic part of Australia’s filmic DNA and, for the 20th century, was a high-water mark for its cultural identity.
Late Night with the Devil is a uniquely crafted satire-horror flick that solidly sets itself up as a soon-to-be Halloween staple.
Godzilla x Kong: The New Empire continues the MonsterVerse saga by pitting the iconic Godzilla and Kong against new, formidable threats.
Immaculate engulfs the viewer in a palpable sense of dread, set against the backdrop of a mysterious Italian convent.
Roadhouse emerges as a spirited echo of its predecessor, albeit slightly toned down in the cheese department, though that doesn’t detract from its inherent silliness and fun.
In her first ever feature film Miller’s Girl, upcoming director Jade Halley Bartlett tells a story about the debatable relationship between a school teacher and his 18 year old student, whose interest and knowledge of literature makes her stand out from others.
The Australian horror-thriller You’ll Never Find Me emerges as a thrilling testament to the power of atmospheric storytelling.
Netflix’s Damsel, led by Millie Bobby Brown, is a refreshing fantasy addition to the genre that seems to be increasingly forgotten as the years go by.
In Dune: Part Two, the saga continues as we follow Paul Atreides (Timothée Chalamet) and his journey through the treacherous landscapes of Arrakis and beyond.
American Fiction is a nuanced exploration of creativity and cultural identity, effectively bridging humour with thematically serious undertones.
Imaginary, directed by Jeff Wadlow, combines horror tropes and family drama with a lazy approach that sits comfortably in the realm of ‘dumb fun’.
The Zone of Interest presents a cinematic paradox, blending the mundane with the horrific in a manner that is both unsettling and profound.
Cobweb is an ambitious cinematic endeavour that intertwines the complexity of filmmaking with noir-esque elements, creating a tangled, charming, and intricate narrative.
