Driven by a powerhouse performance, Vanya is devilishly funny, playful, and inextricably human.

Just two bros sitting around a campfire. Five feet apart. Because they can’t face reality. 

Beginning with Lillian (Talia Ryder) embarking on a class trip to Washington DC, before a Pizzagate-like violent outburst from a young man […] interrupts her night, sending her down an almost literal rabbithole.

World cinema can bring us a film like this: a tiny love story, from a country you may never visit, dressed up like an anti-capitalist screed.

Painting a portrait of a marriage in decline, a child irrevocably changed, and a woman in freefall, Anatomy vivisects the ripple effect of its victim’s demise, familial wounds spilling open to reveal grisly entrails for all to see.

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.

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.

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.

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. 

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.

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.

For those of you who are pro lesbian rights and pro lesbian wrongs, The Origin of Evil is the perfect Friday night French flick with all the lesbians, major plot twists, and tea you need!

While Twin Peaks: Fire Walk with Me is not the most audience (or even fan) friendly experience around, it's a devastating look at a life cut short.

From the producers behind The Worst Person In the World, comes one of the best features in the world… about the ACTUAL worst person in the world.

The 2023 Winner of the Online Film Critics Society Awards for the Best Non-U.S. Release, it’s clear that Everybody Loves Jeanne is winning hearts around the world!

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.