If you’re going to see one animated robot film this spring, check out The Wild Robot.

The best part of the screening was the little black cupcakes that were handed out outside the cinema afterwards, almost like a little treat for slugging through the disappointment that was this movie. 

Through the Summer of 1991 in rural Massachusetts, the unapologetic yet awkward 11-year-old Lacy (newcomer Zoe Ziegler) is entrenched in the captivating orbit of her mother Janet (Julianne Nicholson).

A quietly ambitious work sure to attract allegations of pretension, Raven Jackson swings big in All Dirt Roads Taste of Salt.

With complex, figurative ideas, eccentric leading performances, and a tense atmosphere, Cuckoo leads with promise.

All in all, Alien Romulus is a worthy - if conflicting - addition to the franchise.

This film is a functional enough directorial start for Kravitz, but Blink Twice could have used a little more time in the oven.

Emerging from the festival circuit in all its adrenalised glory, Strange Darling is a nightmarishly visceral masterclass in subversion which keeps you on your toes from the get-go.

It’d be easy to label Abiding Nowhere as tranquil and meditative, as it certainly is, but I still see so much of Ming-liang’s earlier passion present in the form of this late-stage mellowness.

Director Jane Schoenbrun impresses with I Saw The TV Glow - a horror flick which is only half-scary but full heartbreaking.

I think whatever qualms I have towards Grand Theft Hamlet’s artificial attempts at a heart-to-heart are outweighed by how organically and hilariously human the majority of the film is.

Whilst applaudable in its attempt to meld lycanthropy with modern-day political concerns, Blackout is a poignant character study hampered by heavy-handed exposition which renders its bark worse than its bite.

The result is a refreshingly modern and idiosyncratic film that feels almost antithetical to the filmic formula that the studio system often caters for, and left me excited that a filmmaker like Shyamalan is still exercising his creative hand in original and tonally ambitious ways. 

Colleen Hoover’s controversial smash hit novel, It Ends With Us, has just hit theatres in all its soapy Hallmark glory.

There is no doubt that Deadpool & Wolverine has a lot going for it. Walking in there expecting to be stunned, excited, and especially dying of laughter, will see such expectations fulfilled without fail. However, between the lines lies a canvas that remains untouched, lacking the creativity and depth some would call critical to a good story.

For those willing to embrace its unique approach, Nash's film offers an off-kilter and strangely beautiful experience.

Kinds of Kindness is a film that, while not without its immature and edgy side that seems cultivated purely to provoke, leaves you thinking long after the credits roll.

Grab your popcorn, silence your phone, and sit down for A Quiet Place: Day One - just don’t expect it to leave you anywhere near as speechless as its survivors.

Longlegs still manages to stand out despite the abundance of highly effective and artful horror we are afforded in the modern era.

Much like its predecessor, Twisters is an exhilarating Spielbergian spectacle which showcases the sheer vehemence of nature’s fury.