Standing at the very peak of Noé's filmography with an uncharacteristically mature handling of its subject matter, Vortex is a haunting reminder of the ephemeral nature of life, and a touching ode to the memories that accumulate over the course of one.

Largely free of overt fan service or nostalgia-baiting, Prey is the rare modern prequel that dares to use its framework to propel the series in new directions, widening the universe without overcrowding it with familiar characters or obnoxiously hinting at an immediate sequel.

Something in the Dirt offers up a bounty of intriguing morsels, and to witness filmmakers attempt so much with so little is inspiring in its own right.

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.

Thor: Love and Thunder offers a colourful, lively enough diversion that should sate appetites until the next offering arrives, even if it doesn't necessarily accelerate the hype train.

It'd be hard to prime anyone for the journey the feature takes you on, and to do so would in part ruin the fun. It's a thunderous Pandora's Box of a film, a disorganised mixed bag of funhouse tricks that's rewarding sporadically, but always daring.

As blockbuster sequels grow increasingly more divisive and audiences more critical, is that enough? Can a film ride on the sway of dinosaurs and Jeff Goldblum alone? The answer is… kind of, actually.

Firestarter is a disappointingly damp affair, a film that's all fuse; frustratingly flickering between stupid and boring.

Complete with a Marlon Brando surrogate and nods to B-movie exploitation, it's clear that for the most part, Pompo The Cinéphile has its heart in the right place. Viewed purely as blissful escapism, it's a sugar-coated ode to the idea that with enough passion, anyone can make it.

Following a seemingly idyllic family as the daughter [..], winds up raising a grotesque creature with whom she shares a telepathic connection, the film uses horror as a vessel to explore themes of vanity, coming-of-age, and beauty, while also offering up a healthy dose of criticism aimed squarely at family vloggers.

Unashamedly self-indulgent and barely cognizant of any sort of budgetary limitation […], Miami Connection is wicked fun for the midnight movie crowd that'll have you puzzling over how a movie like this even got made.

Baraka is a must-see for anyone who finds themselves with a proclivity towards social sciences, theology, or spirituality.

Set against the harsh backdrop of the Berlin Wall, Andrzej Żuławski's 1981 cult classic Possession is a genre-defying chronicle of marriage in decay.

Petite Maman shows respect for its audience and reverence for its central themes, opting not to over-explain its time travel logic, or even bother spending too much time ruminating on whether that's actually the case. Above all, this is a story about motherly love.

Deliberate in pace yet nimble on its toes, After Yang lulls the audience into a world not too distant from the one we live in; serene and serendipitous in its own, melancholic way.

All in all, After Blue (Dirty Paradise) is a wild and weird dreamscape of a film, complete with glowing crystals, high fashion accessories, and no less than 25 mentions of the words “Kate Bush”

Like a well thought out stage performance, Dreams on Fire aims not just to thrill, but also to move. Pulsing through its veins is a rich marriage of emotion and style, resulting in a film experience that commands attention, intoxicating the audience with an audio-visual assault on the senses.

While not packing the usual one-two gut punch of most of its horror contemporaries, World’s Fair blends familiar mumblecore, coming-of-age and micro-budget horror elements into a film that’s greater than the sum of its parts, equally unnerving, hypnotic and experimental in the same breath.

Some viewers may find Secrets of Dumbledore to be exactly what they want, after all it does offer a fair amount of fan service and proves there is still some fun to be had with this universe, but I can only speak from my personal experience, which was woefully unmoving.

The new trend is “villain” films, and like most of its contemporaries, Morbius can’t commit to that promise, nor does it really commit to much else.