Lyd, which recently played at Melbourne's Palestinian Film Festival, is a cinematic exploration of the city formerly known as Lyd, a place with a rich and tumultuous history that has been shaped by its many inhabitants and the broader geopolitical forces at play.

While The New Empire may not be exactly treading new ground, it does succeed at something that few modern blockbusters do - being fun. GxK delivers on a monster mashup of epic proportions, with a few little surprises up its sleeve and just enough creativity to inspire hope for the franchise ahead.

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.

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.

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.

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.

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. 

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

For all of its idiosyncrasies, Asteroid City is an out-of-this-world homerun for its director, ranking up there with Wes' very best.

Grab your popcorn folks, 'cos the Ezra express is about to hit the speed force.

All-in-all, there have been ten stand-alone Spider-Man movies since 2002. They’ve all been pretty good, but Across the Spider-Verse is the most ambitious, most beautiful, and most satisfying one yet.

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.

This is the way Phase Five of the Marvel Cinematic Universe starts — not with a bang, but with a family dramedy shrouded in visual effects and charming absurdity.

Dome House Six scared me for the first time in a long time, and I didn’t even realise I was terrified until I felt the sweat built across my forehead.

Above the skies of Brazil, seemingly innocuous pink clouds signal the beginning of a looming terror and an issue that lingers for years. Can humans adapt and survive without the socialisation, fresh air, and “normality” we’ve come accustomed to?

Is nostalgia bad? LandLocked’s narrative enterprise seems to be based around an impression of nostalgia as a destructive force that, in the movie’s world, is the primary antithesis of change or progress.

The Green Woman meanders through a story of relationship problems and addiction, asking its audience to put the visual and storytelling problems aside for a third-act reveal.

Japanese animator Yanakaya has made his feature debut with Battlecry, animated entirely on his own laptop. In embracing the rough limitations of solo 3D animation, the film looks like a videogame from the 90s.

Much like Jordan Peele’s first two instalments, Get Out and Us, his new flying-saucer-mystery Nope is anything but predictable.

Something in the Dirt offers up a bounty of intriguing morsels, and to witness filmmakers attempt so much with so little is inspiring in its own right.