Stephen Soderbergh […], makes a return to experimental filmmaking with Presence: a modernised ghost story serving as a deliberate subversion of the genre itself.

Here unfortunately stands as an excessively shmaltzy affair incapable of capitalising on the potential of its intriguing premise.

Encapsulating the unpredictable freneticism which helped form the genesis of its namesake, Saturday Night offers a compelling, if imperfect, peek behind the veil which concealed the chaos.

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

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. 

Like its idiosyncratic subject matter, DEVO is a poignantly hyperkinetic ninety-minute examination of rock music’s most misunderstood band.

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.

Whilst applaudable in its attempt to meld lycanthropy with modern-day political concerns, Blackout is a poignant character study hampered by heavy-handed exposition which renders its bark worse than its bite.

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

To put it bluntly, The Exorcism is an atmospherically stagnant cinematic offering akin to a long walk down a windy beach to a café that isn’t open.

Long-time fans of the franchise will be happy to know that Kingdom serves as a serviceable yet clunky inaugural instalment for a new trilogy – teasing a slew of new concepts which will undoubtedly enrich the mythos of this long standing series in the future.

Sean Durkin’s The Iron Claw superbly avoids the pratfalls of biopic cliché and transforms the story of the Von Erich clan into a harrowing denunciation of toxic patriarchal masculinity masquerading as familial dynasty.

High octane thrills, chills and an (un)healthy dosage of familial anguish – Michael Mann’s Ferrari is an exhilarating portrait of a man whose complexity is shaped by a past scarred by immense grief.

Insightful, fiendishly hysterical, and (albeit slightly overwhelmingly) emblematic, Dream Scenario is a surrealist delirium that moulds one of 2023’s most inventive premises into a deeply moving, melancholic parable on the perks and perils of sudden celebrity.

Ultimately, whilst its premise is much stronger than its humdrum execution, One Life succeeds in reminding us of the inherent goodness of ordinary people.

Overall, It Lives Inside illustrates itself to be a unique conceptual endeavour which struggles under the weight of its own potential. Although somewhat competent in facets of its execution, it ultimately sabotages its potency and settles upon a derivatively restrained final product which unfortunately struggles to leave a lasting impression.

Offbeat, endearing, and at times, soul-crushing, Charlotte Regan’s feature debut Scrapper poignantly weaves tangerine-tinged whimsy into a tale of reconciliation, effortlessly bearing the weight of immeasurable loss with a touching irreverence.

Time Bomb Y2K delivers an earnest archival examination, unraveling the intricacies of the Y2K phenomenon – delving deep into the global anticipation for a potential digital doomsday.