While it most likely won’t be regarded as a mobster classic when compared to some of Scorsese’s other masterpieces it is trying to channel, The Alto Knights is still a well-enough-made film that fans of the mobster genre will be able to glean some enjoyment from the feature.

Rasoulof brings the audience directly into Tehran - this film will most likely be the closest thing we’ll ever have to see into the lives of those who have been oppressed in Iran.

Inside is a well-directed debut feature that is unforgiving, and filled with stand out moments from the whole cast.

Visually, this film feels like a masterclass of instinctive storytelling.

Occasionally awkward performances and deliveries are mostly forgiven by this fine adaption of a scandalous mystery. 

It's interesting that for all the film's grappling with Arthur's identity crisis, Folie à Deux winds up having one of its own

Prima Facie is a play that refuses to be taken at face value.

Drawing out the melancholic chaos of its cinematic counterpart, The Penguin’s premiere episode enables a seamless transition in format – offering a richly textured character study which hooks you from minute aught. 

Emerging from the festival circuit in all its adrenalised glory, Strange Darling is a nightmarishly visceral masterclass in subversion which keeps you on your toes from the get-go.

The result is a refreshingly modern and idiosyncratic film that feels almost antithetical to the filmic formula that the studio system often caters for, and left me excited that a filmmaker like Shyamalan is still exercising his creative hand in original and tonally ambitious ways. 

Longlegs still manages to stand out despite the abundance of highly effective and artful horror we are afforded in the modern era.

If you’re an avid fan of horror films and especially love slashers, this is the film for you; if I’m not describing you, but you’re willing to give it a shot, you’ll find a fun ride of a movie with a few laughs and thrills along the way!

The Bikeriders is a great nostalgia trip to an age of motorcycle riding that many have never experienced. But by its end, you’ll consider spending your EOFY money on a new bike—or at least a leather jacket.

At the end of the day this is a reasonably satisfying and serviceable entry in the series, a Jerry Bruckheimer production through and through, and possibly my second favourite behind Bad Boys II.

Galluppi’s mindfulness in crafting The Last Stop in Yuma County truly shows what outstanding stories can come from taking a leap in the dark.

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!

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

Painting a portrait of a marriage in decline, a child irrevocably changed, and a woman in freefall, Anatomy vivisects the ripple effect of its victim’s demise, familial wounds spilling open to reveal grisly entrails for all to see.

In a world obsessed with John Wick, as well as its various imitators, it seems rare that we get a film that shakes up the revenge genre.

Killers of the Flower Moon is not only a landmark film for Scorsese as a filmmaker but also tells the story of a horrific time in American history, surrounded in shame and regret.