Two Many Chefs (2022) is Joaquín Mazón’s new comedy film that has heart but loses its edge with repetitive jokes and lazy storytelling.

You Hurt My Feelings is all about the little lies we tell the people around us, not out of malicious intent, but in order to avoid a more destructive outcome.

Beau Is Afraid is far from a perfect cinema-going experience, but it's nevertheless a fascinating and original one.

A Good Person is a soundly crafted story of grief, addiction, forgiveness and acceptance, helmed by Florence Pugh who gives (yet another) extremely focused and moving performance.

Where weirdness can often lose out in action films, the chaos, vibrancy, and fast-pace of Polite Society breathes new life into the genre, and serves as an excellent tone setter for what the rest of FFFA 2023 has to offer.

I felt like I was losing my mamma mia-mind.

Fantastic Film Festival Australia is back in town, promising cinema without restraints.

We Are Still Here is aptly described by the saying “the whole is greater than the sum of its parts,” as it doesn’t particularly stand out for its technical or creative proficiencies, but rather because the message it manages is profound.

With far less stripping and far fewer banger tracks than one would expect for a movie about stripping, I declare Magic Mike’s Last Dance an official flop.

Rocketing off at a Scorsese-Esque pace, money changes hands, morals are compromised, and men get covered in explosive elephant diarrhoea, which sums Chazelle’s 3-hour epic up quite well as it is striking, explorative, inspired, and at times flat-out-hilarious. 

For Spielberg, the world makes sense through the dreamlike lens of filmmaking. The Fabelmans manages to conjure cinematic spectacle out of family drama with embracive character studies and an unyielding recount of bittersweet youth.

Maybe skip the popcorn for this one, but make sure you climb aboard for one of the best films of the year.

What are you expecting from a Sony rendition of a decades old kid’s cartoon strip about a singing crocodile, adapted for the big screens for 2022 with Shawn Mendes taking the lead as the titular Lyle, the crocodile?

Don’t expect a barrel of laughs or a feckin’ good time, but McDonagh’s latest is a powerful dark comedy that’ll have you thinking about your own mental state long after you leave the cinema.

The Lost King can pretend like it’s focusing on Richard, but the truth is they could change the title to The Lost Queen, and nobody would bat an eye.

Combining bitter comedy with the sensibilities of an A24 horror film, The Menu marks a cool addition to the genre and establishes itself as one of the most exciting blockbusters of this year.

Millies Lies Low is an effective tragicomic story of the way we create truth to find our own, as well as the lengths we will go to and things we will have to lose to get to it.

Perhaps the real Going To Paris was the friends that Mrs. Harris made along the way.

While the plot is largely predictable, following the tropes and clichés of dozens of films before it, Cudi’s presence firmly sells this product as something of his own.

Belli Ciao isn’t the most high-brow of satires, and in some parts the laughs are a bit sparse, but there are a couple of genuine ones for sure.