To put it bluntly, The Exorcism is an atmospherically stagnant cinematic offering akin to a long walk down a windy beach to a café that isn’t open.

There's a decent helping of funny-bad horror movie moments that include a particularly saucy burger, the ol’ spontaneously exploding motorcycle trick, and a singular rat being treated as if it's the most terrifying creature on the planet, but the overall experience is about as satisfying as eating soup with a fork.

At the end of the day this is a reasonably satisfying and serviceable entry in the series, a Jerry Bruckheimer production through and through, and possibly my second favourite behind Bad Boys II.

This is ultimately a film about power and rebellion, and it is within the interplay of the two subjects that it shines.

Just a month after the release of Dev Patel’s Monkey Man we get yet another thrilling directorial debut entering into the action subgenre - putting emphasis on crazy fight choreography - in Moritz Mohr’s brand new sci-fi bonanza Boy Kills World.

Monster confronts viewers with an ambiguous ending, leaving us to decipher the truth of who really is the eponymous monster, but perhaps the objective truth is there are monsters in each and every one of us.

Mami Wata truly has the ability to spellbind, yet keeps its feet rooted in a deeply nuanced point of interest: an ever-changing reckoning with modernity.

Monkey Man tells the story of a nameless young man, referred to in the credits as “Kid” and using the self-applied alias “Bobby”, a fighter at an underground boxing ring in Yatana, as he attempts to infiltrate the ranks of the powerful upper class to enact violent revenge for the massacre of his village - a story that mirrors the Hindu epic of Hanuman, the white monkey. 

Galluppi’s mindfulness in crafting The Last Stop in Yuma County truly shows what outstanding stories can come from taking a leap in the dark.

Hood Witch is redolent of self-importance, so deeply invested in its own world that it barely pauses to consider the viewer’s ability not to care about its mediocre characters and plot delivery.

Fans of bizarre, esoteric and extreme films, who live around Melbourne and Sydney can rejoice, because it's that time of year - Fantastic Film Festival Australia is back once again.

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!

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

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

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.

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.

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!