Despicable Me 4 is a statement to the world of cinema. It doesn’t matter how mediocre your film is, if it has Minions… the children will come.

The Fall Guy is the rare blockbuster studio film that feels simultaneously old school and fresh in execution. It is incredibly funny, fast-paced and deeply romantic. At its core, however, the film is a love letter to the stunt community and the incredible work they do to entertain audiences.

Monkey Man tells the story of a nameless young man, referred to in the credits as “Kid” and using the self-applied alias “Bobby”, a fighter at an underground boxing ring in Yatana, as he attempts to infiltrate the ranks of the powerful upper class to enact violent revenge for the massacre of his village - a story that mirrors the Hindu epic of Hanuman, the white monkey. 

As it is, Kung Fu Panda 4 is a worthy sequel and enjoyable film, even if it doesn’t quite live up to its potential.

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

The Holdovers provides us with an inarguable Christmas Movie – despite its quintessentially-too-late Australian release date – that feels ready to be an instant classic.

Migration is not trying to elevate the road trip comedy or be innovative for animation. Its goal is to entertain families and make kids smile. Movies need to do that more.

Serviceable but not particularly functional, Five Nights at Freddy's is a horror film that's as clunky and awkward as the lumbering animal robots it revolves around.

Despite some initial promise, The Exorcist: Believer is a half-hearted attempt at best, and complacent with mediocrity at worst.

For all of its idiosyncrasies, Asteroid City is an out-of-this-world homerun for its director, ranking up there with Wes' very best.

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

Story comes second and spectacle takes centre stage in The Super Mario Bros. Movie.

A symphony of cinema, bubbling with dark and subtly thrilling emotions, elevated by an incredible lead performance and anchored by adept direction.

Say it with me: M3GAN is hip. M3GAN is happening. M3GAN is the moment.

A film whose subject matter should have been treated with the utmost care, She Said can only be described as an overall meagre, flat attempt at capturing a moment in time that will be remembered for its fervent rage and violent passion.

In an earnest love note to the LGBTQIA+, Bros ushers in an ambitious standard for bigscreen queerdom with some grounded perspectives, sweetspot cultural references and an all queer cast and crew.

At its most essential, the film is a story of a young Jewish boy who befriends a Black boy, and the confusing strata of privilege and injustices that come to define his place in late-20th-Century America.

Halloween Ends concludes this trilogy on a high note, with much more confident direction than the previous film, and the bold cinematography of a 70’s slasher but with that same modern sheen, smooth camera movement, and stark, moody lighting.

Much like Jordan Peele’s first two instalments, Get Out and Us, his new flying-saucer-mystery Nope is anything but predictable.

While its lack of teeth in the back end of its runtime is somewhat of a letdown, and Derrickson may not quite recapture the highs of earlier works like Sinister, there's no doubt that The Black Phone is still an effective, nasty little horror flick.