Furiosa: A Mad Max Saga is a visually stunning yet narratively turbulent prequel, a vivid exploration of a world where mythic chaos reigns supreme.
Robot Dreams captures the essence of friendship, longing, and the transformative power of companionship—all without a single word of dialogue.
Monster is an impressive, sympathetic and engaging Japanese psychological mystery directed by Kore-eda Hirokazu from an award-winning screenplay written by Yuji Sakamoto.
What About Sal? is an Australian independent feature film and the third film written by, co-starring, and directed by screen legend John Jarratt (Wolf Creek).
The Sweet East is both the directorial debut of indie cinematographer turned director Sean Price Williams and the first-time screenwriting effort of prolific film critic Nick Pinkerton. Although, considering how expertly directed, written, and performed it is, you wouldn’t really know it.
Housekeeping for Beginners is a found-family story that has been told countless times: it has an eternal power to it.
Dev Patel comes out swinging with Monkey Man, a John-Wick-esque action-thriller that makes revenge look as sweet as ever.
Kingdom of the Planet of the Apes serves up a rich blend of action, adventure, and character-driven storytelling, marking a vibrant continuation of the beloved franchise.
Challengers is a fast-paced drama broken into many different time periods over the span of our characters’ complex lives.
There are a few times during The Road to Patagonia that the cynical urge arises to dismiss ecologist Matty Hannon’s motorcycle journey down the Americas as a vlog of quintessential white Aussie spiritual tourism.
Babak Jalali’s Fremont is a visual and emotional feast, following a young Afghan woman trying to find bliss for our troubled past.
Ryan Gosling’s stunt-filled spectacle in The Fall Guy delivers thrilling action and laughs, even if the romance fails to fully ignite.
The First Omen releases in the wake of various religious horror films coming to theatres as of late, but where does it sit?
In Abigail, audiences are treated to a spectacle of gore, laughter, and vampiric shenanigans that prove once again that not all horror needs to be so dark.
In Civil War, the audience is thrust into a whirlwind of conflict that keeps them on the edge of their seats from start to finish.
On the Line is a shoddy attempt at a “Phone Call Thriller.”
