Timestalker tells the story of a woman named Agnes who keeps falling in love with the wrong man in several different time periods, after being continuously reincarnated.

A quietly ambitious work sure to attract allegations of pretension, Raven Jackson swings big in All Dirt Roads Taste of Salt.

With complex, figurative ideas, eccentric leading performances, and a tense atmosphere, Cuckoo leads with promise.

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

All in all, Alien Romulus is a worthy - if conflicting - addition to the franchise.

If there was ever a flick to skip the popcorn on, it’s this one. Coralie Fargeat’s latest film, The Substance (2024), is a stomach-churning concoction of body horror and comedy that makes for an insanely monstrous watch.  

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

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.

I’m tempted to call this a modern Macbeth.

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.

Memoir of a Snail is an absolute triumph, cementing Elliot as a visionary and one of the best in his field.

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.

Director Jane Schoenbrun impresses with I Saw The TV Glow - a horror flick which is only half-scary but full heartbreaking.

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.

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.

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. 

Colleen Hoover’s controversial smash hit novel, It Ends With Us, has just hit theatres in all its soapy Hallmark glory.

There is no doubt that Deadpool & Wolverine has a lot going for it. Walking in there expecting to be stunned, excited, and especially dying of laughter, will see such expectations fulfilled without fail. However, between the lines lies a canvas that remains untouched, lacking the creativity and depth some would call critical to a good story.

The second feature from Mexican director Lily Avilles, Tótem, is an incredibly assured and mature film that depicts the emotional intimacy and fragility of an extended family dealing with loss. 

For those willing to embrace its unique approach, Nash's film offers an off-kilter and strangely beautiful experience.