Glass subverted my expectations repeatedly through her pairing of lesbians and gym bros, the supernatural creeping into the frame, and an unexpected experimental conclusion to the movie. Love Lies Bleeding is a bloody good thriller!

Driven by a powerhouse performance, Vanya is devilishly funny, playful, and inextricably human.

Based on his 2017 short film of the same name, Alberto Corredor’s Baghead is a horror film about a young woman who inherits her father's pub, only to find out there's a supernatural entity in the basement with the ability to take on the form of dead loved ones.

Everyone always asks who is Argylle, but they never ask how is Argylle? Kind of disappointing, if I'm being honest.

Sean Durkin’s The Iron Claw superbly avoids the pratfalls of biopic cliché and transforms the story of the Von Erich clan into a harrowing denunciation of toxic patriarchal masculinity masquerading as familial dynasty.

Liberating in all the right ways, Poor Things is a heartwarming oddball of a film, matching the gorgeous with the grotesque, showing that even in life's most dire circumstances there is still so much joy to be found.

High octane thrills, chills and an (un)healthy dosage of familial anguish – Michael Mann’s Ferrari is an exhilarating portrait of a man whose complexity is shaped by a past scarred by immense grief.

Ultimately, whilst its premise is much stronger than its humdrum execution, One Life succeeds in reminding us of the inherent goodness of ordinary people.

If you have no interest in historical accuracy and enjoy stunning cinematography, awkward romancing, spectacular war scenes, and hate the English, then Napoleon is the film for you. 

Kenneth Branagh has given audiences a mixed bag with A Haunting in Venice. The film offers nothing new in terms of mystery or thrills, and wastes it’s strong ensemble cast, which is the real disappointment.

Offbeat, endearing, and at times, soul-crushing, Charlotte Regan’s feature debut Scrapper poignantly weaves tangerine-tinged whimsy into a tale of reconciliation, effortlessly bearing the weight of immeasurable loss with a touching irreverence.

Offering up a gold rush of entertaining action and ridiculous predicaments for its masochistically macho protagonist to fight through, Sisu mostly sticks the landing in delivering a satisfying and fist-pumping cinematic experience.

Oppenheimer is a freakishly good match for Christopher Nolan, and it may well be his best work.

Beau Is Afraid is far from a perfect cinema-going experience, but it's nevertheless a fascinating and original one.

Where weirdness can often lose out in action films, the chaos, vibrancy, and fast-pace of Polite Society breathes new life into the genre, and serves as an excellent tone setter for what the rest of FFFA 2023 has to offer.

I felt like I was losing my mamma mia-mind.

Who knew a story about a video game where bricks fall from the sky could be so interesting?

Oliver Hermanus’ Living is a film that doesn’t ask for much. It simply wants the audience to observe.

Despite Ward and Colman’s impressive performances, and some beautiful Roger Deakins cinematography, Empire of Light is unfortunately weighed down by a messy screenplay that can’t untangle itself before the credits.

The Lost King can pretend like it’s focusing on Richard, but the truth is they could change the title to The Lost Queen, and nobody would bat an eye.