The cast of Thunderbolts* being played as antiheroes does a decent job of shaking up the superhero formula enough, while remaining true to its roots for fans of the genre.

There are a few funny jokes and the ending is very sweet, but they unfortunately they can’t save this banquet from feeling like a slog.

There are few films that you will watch like director and writer Ye Lou’s docufiction, An Unfinished Film. 

Upshot is a perfect example of utilising simplicity to underline the horror of reality.

Mr. K is ambitious, imaginative and impressive, but the setup is unfortunately better than the payoff.

Aside from the fact that you may struggle to eat tomatoes for a short period of time, Parish Malfitano’s sophomore film is nothing short of spectacular. 

The conflicting adaptation of Tom Michell’s memoir, The Penguin Lessons, swerves between a lighthearted comedy and political drama.

Small Things Like These is a poignant title for an arresting film, as it’s the little uncomfortable things director Tim Mielants wants you to become familiar with.

The Count of Monte Cristo, directed and written by french duo Alexandre de La Patelliere and Matthieu Delaporte, is a three hour epic worthy of the source material.

James Ashcroft’s The Rule of Jenny Pen is a slow-burn psychological horror that trades in gore for something far more insidious - helplessness.

Oh, Canada tries to be profound and contemplative, but disappointingly, is not as deep or compelling as it thinks it is. 

Steven Soderbergh continues his prolific ‘post-retirement’ run with Black Bag, a tightly-wound spy thriller that is as cleverly composed as it is devilishly paranoid.

While it most likely won’t be regarded as a mobster classic when compared to some of Scorsese’s other masterpieces it is trying to channel, The Alto Knights is still a well-enough-made film that fans of the mobster genre will be able to glean some enjoyment from the feature.

My Melbourne is the people we all know: our friends, our family, our neighbours, our coworkers, our bosses, our classmates, the people on our tram rides in the morning, and the people we talk to on a night out.

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.

Hard Truths is a masterclass in great writing and acting, and despite a shaky ending, still packs a huge punch.

Rasoulof brings the audience directly into Tehran - this film will most likely be the closest thing we’ll ever have to see into the lives of those who have been oppressed in Iran.

While I’m Still Here is quite simple in terms of filmmaking, it is elevated by its incredible performances, storytelling and authentic portrayal of the time period.

Bridget Jones: Mad About the Boy is a tale bound to resonate with every woman’s experiences.

The Last Showgirl is a reflection on how the end is just the beginning, and the whimsy of girlhood can persevere into womanhood.