Halloween Ends concludes this trilogy on a high note, with much more confident direction than the previous film, and the bold cinematography of a 70’s slasher but with that same modern sheen, smooth camera movement, and stark, moody lighting.

It is practically impossible to disentangle Olivia Wilde’s mystery thriller Don’t Worry Darling from its accompanying, and rather shocking tidal wave of controversy and exposures.

Director Scott Mann creates some dizzying heights, but fails to lay the groundwork necessary for its committed actresses to really plant their feet on, resulting in a flick that's fun to gawk at for a while, but ultimately tires itself out trying to keep pace.

While its visual and budgetary limitations may mean I can't exactly say Orphan: First Kill is a must-see on the big screen, it is well worth checking out for anyone who even mildly enjoyed the first movie.

Bodies Bodies Bodies should be referred to as the golden standard for films in the future wanting to strike the perfect balance of social commentary and top tier comedy.

Dome House Six scared me for the first time in a long time, and I didn’t even realise I was terrified until I felt the sweat built across my forehead.

Much like Jordan Peele’s first two instalments, Get Out and Us, his new flying-saucer-mystery Nope is anything but predictable.

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.

The debut fiction feature from director Macarena Astorga, The House of Snails is a slow burn psychological thriller filled with twists and turns that will have you on the edge of your seat.

The Northman is an unyielding hell song of blood, dirt and firelight. Robert Eggers hasn't changed a bit and it's a blessing to us all.