In an era of ever-increasing shake-ups in the animation world, it’s no wonder the best animated feature film of the past year was made by a small team of Latvian filmmakers in Blender.

From a young age, the film stuck in my mind as undyingly sympathetic, and upon my revisiting it recently, I love it more than ever as not only the purest demonstration of Lynch’s ability to thrive within the studio system, but also the directorial attention to his own idiosyncratic way of loving the people of the world around him.

Nothing in the film really ‘fails’, per se, and if there were a universal, objective checklist of things that make a Good Movie–there isn’t, by the way–The Brutalist meets them all.

Kneecap follows a fictionalised origin of the Irish rap group Kneecap, pioneered by brothers Liam Óg and Naoise Ó Hannaidh.

From my formerly substantial experience with the Transformers fandom I can say that this will please them, and whether you choose to interpret that as an indictment on them is up to you!

If you’re going to see one animated robot film this spring, check out The Wild Robot.

 I don’t know if I will ever get to watch Us and the Night again given its unique formatting and distribution, but it’s quite radically put my love of film into perspective.

Much like Godzilla’s messy and complicated birth as a concept and popular culture figure, I too feel as though I’ve come out of this experience a strange creature. It’s something I won’t soon forget.

Peter Weir’s second feature The Cars That Ate Paris (1974) has an underlying power, and it’s both due to how raw it is as a cultural and industrial satire, and how much Peter Weir’s delicate emotional trademarks manage to bleed themselves into the expression of this bizarre premise.

It’d be easy to label Abiding Nowhere as tranquil and meditative, as it certainly is, but I still see so much of Ming-liang’s earlier passion present in the form of this late-stage mellowness.

I think whatever qualms I have towards Grand Theft Hamlet’s artificial attempts at a heart-to-heart are outweighed by how organically and hilariously human the majority of the film is.

In the cold, winter region of Lapland on December 28, 1984, a Soviet missile, at the time thought to be possibly nuclear, strayed over the Finnish border during a target test, landing beneath the ice of the frozen Lake Inari.

If you like the Violence! Blood! and Guts! of a John Wick clone then your desires will be met in spades here.

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.

At the end of the day this is a reasonably satisfying and serviceable entry in the series, a Jerry Bruckheimer production through and through, and possibly my second favourite behind Bad Boys II.

The Taste of Things serves up a complicated feast for the eyes, intrinsically tying its romanticisation of cooking as a love language to the identities and passions of its two leads.

Mami Wata truly has the ability to spellbind, yet keeps its feet rooted in a deeply nuanced point of interest: an ever-changing reckoning with modernity.