Subverting expectations and blending genres, Your Monster is an endearing love letter to the ones who’ve had their hearts broken, and gives them permission to embrace their fury. 

Goodrich may not be particularly groundbreaking, and there are definitely other slightly better movies out there like it. However, it’s so endearing that it is impossible not to be charmed, with Keaton being the pièce de résistance.

If you’re into switch-off-and-enjoy movies, ruining professional relationships, hilarious flashback montages, and alcoholic priests, then Hear Who’s Talking is the film for you. 

Kneecap follows a fictionalised origin of the Irish rap group Kneecap, pioneered by brothers Liam Óg and Naoise Ó Hannaidh.

Encapsulating the unpredictable freneticism which helped form the genesis of its namesake, Saturday Night offers a compelling, if imperfect, peek behind the veil which concealed the chaos.

If you’re into Aussie battlers, beautiful Australian scenery, cute speedy dogs, and blatantly crying your heart out in public then Runt is the film for you. 

Bookworm is a delightful ride that offers the humour, heart and thrills of the best old-fashioned adventure films, while remaining grounded and character-driven. 

Timestalker tells the story of a woman named Agnes who keeps falling in love with the wrong man in several different time periods, after being continuously reincarnated.

I’m tempted to call this a modern Macbeth.

Peter Weir’s second feature The Cars That Ate Paris (1974) has an underlying power, and it’s both due to how raw it is as a cultural and industrial satire, and how much Peter Weir’s delicate emotional trademarks manage to bleed themselves into the expression of this bizarre premise.

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.

The second feature from Mexican director Lily Avilles, Tótem, is an incredibly assured and mature film that depicts the emotional intimacy and fragility of an extended family dealing with loss. 

In the cold, winter region of Lapland on December 28, 1984, a Soviet missile, at the time thought to be possibly nuclear, strayed over the Finnish border during a target test, landing beneath the ice of the frozen Lake Inari.

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.

Despicable Me 4 is a statement to the world of cinema. It doesn’t matter how mediocre your film is, if it has Minions… the children will come.

Inside Out 2 is another easy home run for Pixar, especially when it has a strong message that everyone can relate to.

Foreign Language seems to be the ultimate story of the girlhood experience.

The Fall Guy is the rare blockbuster studio film that feels simultaneously old school and fresh in execution. It is incredibly funny, fast-paced and deeply romantic. At its core, however, the film is a love letter to the stunt community and the incredible work they do to entertain audiences.

Making sure to cater to both returning fans and new fans alike Code: White is by no means a perfect movie, but for what it is, it remains exemplary of good old fashion family fun.

Fremont isn’t a thrilling film, and perhaps one that requires an eager mood, but you could scarcely imagine leaving the cinema without a sense of distinct peace.