Despite some initial promise, The Exorcist: Believer is a half-hearted attempt at best, and complacent with mediocrity at worst.

Blue Beetle is peak escapism and enjoyment, setting an interesting tone for where James Gunn and Peter Safran take the DC universe next.

Few things in cinema are as certain as the Liam Neeson action movies released at least once or twice a year for the past decade and a half.

Overall, It Lives Inside illustrates itself to be a unique conceptual endeavour which struggles under the weight of its own potential. Although somewhat competent in facets of its execution, it ultimately sabotages its potency and settles upon a derivatively restrained final product which unfortunately struggles to leave a lasting impression.

Kenneth Branagh has given audiences a mixed bag with A Haunting in Venice. The film offers nothing new in terms of mystery or thrills, and wastes it’s strong ensemble cast, which is the real disappointment.

It’s Raining in the House explores the story of two Belgian teenagers who live in poverty, as they navigate the summer with an absent mother and a proclivity for getting themselves into trouble.

Offbeat, endearing, and at times, soul-crushing, Charlotte Regan’s feature debut Scrapper poignantly weaves tangerine-tinged whimsy into a tale of reconciliation, effortlessly bearing the weight of immeasurable loss with a touching irreverence.

Can truth reveal itself in Perfect Days? Or is it a beautiful simulacrum, contemporary Japan through the gaze of the international film market?

While The Nun II isn't exactly breathing new life into the genre, horror fans should find themselves satisfied, offering a course correction after the first entry underwhelmed.

Insightful, hilarious yet emotional, director Ili Baré leads the audience through a surprising journey behind one of the world’s most viewed sports competitions, The Australian Open. 

Teenage Mutant Ninja Turtles: Mutant Mayhem is made with passion and love for the franchise, offering a familiar but modern perspective about a group of kids who just want to fit in and throw ninja stars.

Gentle, funny, and incredibly vulnerable, Ally Pankiw’s I Used To Be Funny is an unflinching look at the complexities and inconsistencies that accompany trauma recovery.

Continuing the stylistic trend of Johnson’s previous work, especially his sci-fi mockumentary Operation Avalanche, at times BlackBerry feels like a documentary, which suits the true story it’s based on very well.

Written and directed by Celine Song, Past Lives centres on Nora (Greta Lee) and Hae Sung (Teo Yoo), former childhood sweethearts who reunite after 24 years.

Offering up serviceable (if more than a tad messy) family fun, Haunted Mansion comes close to recapturing Disney's straight to home video glory, complete with a dance party finale.

Hounds, is a bleak portrayal of the criminal underbelly within the Casablancan Medina, where no man is safe from mafia led antics, and this movie gives us a peek into how drastically lives can be changed within one night.

Though it shoots well above its budget in terms of its production value, and features potentially star-making turns from its central actors, You'll Never Find Me winds up feeling more like a sheep in wolf's clothing, fizzling out before it can attempt to wow you with its hypnotic but overlong conclusion.

Late Night with the Devil is destined to be a halloween cult classic.

Passages is a pretty film that entertains, may make you tear up, and could make you feel ashamed just by watching Tomas run around as he does.

If this scene and the overall use of tension represent the start of a pattern for Jack Clark and Jim Weir, I look forward to catching their next film.