As it is, Kung Fu Panda 4 is a worthy sequel and enjoyable film, even if it doesn’t quite live up to its potential.

This is a fun movie. Longtime fans will probably love Ghostbusters: Frozen Empire the most, but at the end of the day, it won’t grab the imagination of any new audiences.

Philip Gnadt and Mickey Yamine’s 2016 film Gaza Surf Club tells the story of several Palestinians and their relationship with the sea. Each of them finds a form of liberation while surfing. We see their struggle to form a thriving surf club whilst living under Israeli occupation.

Io Capitano offers audiences an empathetic and raw portrayal of the harrowing challenges asylum seekers face, simply in order to have a better life that so many of us take for granted.

Glass subverted my expectations repeatedly through her pairing of lesbians and gym bros, the supernatural creeping into the frame, and an unexpected experimental conclusion to the movie. Love Lies Bleeding is a bloody good thriller!

Watch out Cullens, there's a new vampire family in town! Fans of Twilight (2008), Dark Shadows (2012), Submarine (2010), and Moonrise Kingdom (2012), get your fangs out and sink your teeth into this quirky vampire coming-of-age film.

Imaginary is a confounding experience, with absolutely none of the first draft wrinkles of the script ironed out.

This is one of the most important films in this year’s festival. I would implore anyone wanting to learn more about Palestinian history to watch it. 

Factually, this film is about the stain that the 1948 Nakba left on its people. Symbolically, it’s about children who are trapped in a cycle of trauma that they will never outlive. It’s terrifying to think of the thousands of children who this story now belongs to, but it is important not to look away.

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

With its sweeping visual scope and grand approach to world building and action, Dune: Part Two is an absolutely monumental piece of sci-fi cinema. This is the kind of cinematic event that doesn't come around often, and I'd highly recommend checking it out in the biggest, loudest cinema possible.

Based on his 2017 short film of the same name, Alberto Corredor’s Baghead is a horror film about a young woman who inherits her father's pub, only to find out there's a supernatural entity in the basement with the ability to take on the form of dead loved ones.

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

I had quite a good time watching Madame Web. It's just the right blend of bad and confusing filmmaking, never quite finding a happy medium between corporate meddling and the naïve misguidedness of a first time director.

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.

Everyone always asks who is Argylle, but they never ask how is Argylle? Kind of disappointing, if I'm being honest.

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.

Force of Nature is an engrossing modern murder mystery regardless of whether you grew up in Victoria or not, and it does too many difficult things well to be dismissed

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.