Super/Man is a remarkably grounded and thoughtful profile of a man whom we all believed could fly – and maybe we still do.

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

This film is a functional enough directorial start for Kravitz, but Blink Twice could have used a little more time in the oven.

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. 

Much like its predecessor, Twisters is an exhilarating Spielbergian spectacle which showcases the sheer vehemence of nature’s fury.

There are whispers of a great movie in The Watchers, with Ishana’s directorial eye occasionally shining through the film’s middling aspects, however at present her directing style feels imitatively beholden to superficial notions of M. Night’s storytelling sensibilities, and I’d love for her to find her footing amidst the depths of the forest.

Not so much applying brakes to the franchise as it is shifting gears, Furiosa is a triumphantly Aussie blockbuster.

While The New Empire may not be exactly treading new ground, it does succeed at something that few modern blockbusters do - being fun. GxK delivers on a monster mashup of epic proportions, with a few little surprises up its sleeve and just enough creativity to inspire hope for the franchise ahead.

With its sweeping visual scope and grand approach to world building and action, Dune: Part Two is an absolutely monumental piece of sci-fi cinema. This is the kind of cinematic event that doesn't come around often, and I'd highly recommend checking it out in the biggest, loudest cinema possible.

Campy, comical, and twisted, Bottoms is an all-American teenage wet dream dripping in homoerotic high school fantasies. You’ll definitely be talking about this fight club!

Emerald Fennell’s Saltburn is a frighteningly delicious and decadent dessert, one that you immediately regret eating, but cannot get off your mind no matter how hard you try.

Blue Beetle is peak escapism and enjoyment, setting an interesting tone for where James Gunn and Peter Safran take the DC universe next.

While The Nun II isn't exactly breathing new life into the genre, horror fans should find themselves satisfied, offering a course correction after the first entry underwhelmed.

Grab your popcorn folks, 'cos the Ezra express is about to hit the speed force.

A true testament to the belief in one’s talent and potential, AIR celebrates the story of how some commonly unknown underdogs saw something in someone that led to one of the biggest and most profitable sportswear partnerships of all time – and it is an endlessly entertaining and enjoyable watch to boot.

Lee Cronin's latest stab Evil Dead Rise carves out new horizons for the horror franchise, while still boasting enough of the strengths of what came before.

With far less stripping and far fewer banger tracks than one would expect for a movie about stripping, I declare Magic Mike’s Last Dance an official flop.

Playing like an emotional middle ground between Badlands and the Twilight saga, Luca Guadagnino's new Timothee Chalamet-starrer Bones and All is a romantic cannibal road movie, presenting a tale of both the impossibility and inevitability of love; how even in the bleakest of circumstances, when we least expect, or even want it, romance can blossom like a weed in the desert.

Who are we, the audience, to deny the wishes of such a charismatic hunk of a star, with such incredible eyebrow posture? Grab your tickets folks, 'cos the Dwayne train is about to leave the station.

It is practically impossible to disentangle Olivia Wilde’s mystery thriller Don’t Worry Darling from its accompanying, and rather shocking tidal wave of controversy and exposures.