The First Omen is a quiet triumph for modern horror, understanding the delicate balance between terror and beauty, and between homage and innovation.

Lyd, which recently played at Melbourne's Palestinian Film Festival, is a cinematic exploration of the city formerly known as Lyd, a place with a rich and tumultuous history that has been shaped by its many inhabitants and the broader geopolitical forces at play.

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.

Fans of bizarre, esoteric and extreme films, who live around Melbourne and Sydney can rejoice, because it's that time of year - Fantastic Film Festival Australia is back once again.

Imaginary is a confounding experience, with absolutely none of the first draft wrinkles of the script ironed out.

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.

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.

I had quite a good time watching Madame Web. It's just the right blend of bad and confusing filmmaking, never quite finding a happy medium between corporate meddling and the naïve misguidedness of a first time director.

Beginning with Lillian (Talia Ryder) embarking on a class trip to Washington DC, before a Pizzagate-like violent outburst from a young man […] interrupts her night, sending her down an almost literal rabbithole.

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.

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.

For fans and newcomers alike, I can see Godzilla Minus One being a decent watch, thanks to its impressive visuals and action, but for me, it's not particularly memorable.

Devoid of all but the implication of violence, The Zone of Interest commands you to reckon with just how easy it is to turn a blind eye without even realising.

Leaving little room for seconds, Thanksgiving reminds us to be thankful for the simple pleasures that horror brings, and not unlike the dishes that might adorn a festive dinner table, there's plenty of corn to go around.

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.

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.

While Twin Peaks: Fire Walk with Me is not the most audience (or even fan) friendly experience around, it's a devastating look at a life cut short.

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

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.