Sean Durkin’s The Iron Claw superbly avoids the pratfalls of biopic cliché and transforms the story of the Von Erich clan into a harrowing denunciation of toxic patriarchal masculinity masquerading as familial dynasty.

The Holdovers provides us with an inarguable Christmas Movie – despite its quintessentially-too-late Australian release date – that feels ready to be an instant classic.

Liberating in all the right ways, Poor Things is a heartwarming oddball of a film, matching the gorgeous with the grotesque, showing that even in life's most dire circumstances there is still so much joy to be found.

High octane thrills, chills and an (un)healthy dosage of familial anguish – Michael Mann’s Ferrari is an exhilarating portrait of a man whose complexity is shaped by a past scarred by immense grief.

Anyone But You is a modern-day adaptation of Shakespeare’s Much Ado About Nothing, with none of the charm of an adaptation like 10 Things I Hate About You (1999).

Migration is not trying to elevate the road trip comedy or be innovative for animation. Its goal is to entertain families and make kids smile. Movies need to do that more.

Insightful, fiendishly hysterical, and (albeit slightly overwhelmingly) emblematic, Dream Scenario is a surrealist delirium that moulds one of 2023’s most inventive premises into a deeply moving, melancholic parable on the perks and perils of sudden celebrity.

Poignant and beautiful, The Boy and the Heron is both an interesting shift in theme and an excellent addition to Miyazaki’s extensive canon.

Ultimately, whilst its premise is much stronger than its humdrum execution, One Life succeeds in reminding us of the inherent goodness of ordinary people.

For fans and newcomers alike, I can see Godzilla Minus One being a decent watch, thanks to its impressive visuals and action, but for me, it's not particularly memorable.

Campy, comical, and twisted, Bottoms is an all-American teenage wet dream dripping in homoerotic high school fantasies. You’ll definitely be talking about this fight club!

Devoid of all but the implication of violence, The Zone of Interest commands you to reckon with just how easy it is to turn a blind eye without even realising.

If you have no interest in historical accuracy and enjoy stunning cinematography, awkward romancing, spectacular war scenes, and hate the English, then Napoleon is the film for you. 

Despite being overstuffed, The Ballad Of Songbirds & Snakes still manages to fight for its place in The Hunger Games series as it is filled with great performances, effective world building and entertainment value. 

Leaving little room for seconds, Thanksgiving reminds us to be thankful for the simple pleasures that horror brings, and not unlike the dishes that might adorn a festive dinner table, there's plenty of corn to go around.

Emerald Fennell’s Saltburn is a frighteningly delicious and decadent dessert, one that you immediately regret eating, but cannot get off your mind no matter how hard you try.

In a world obsessed with John Wick, as well as its various imitators, it seems rare that we get a film that shakes up the revenge genre.

Killers of the Flower Moon is not only a landmark film for Scorsese as a filmmaker but also tells the story of a horrific time in American history, surrounded in shame and regret.

If you like the French, the death of sex offenders, black-and-white throwback scenes, and subtle manipulation then Mon Crime is the film for you. 

Serviceable but not particularly functional, Five Nights at Freddy's is a horror film that's as clunky and awkward as the lumbering animal robots it revolves around.