“Silent Panic” is a flawed, found body tale where the prospective impacts of reporting its discovery demolish friendships and the lives of those implicated.

"Human Capital" an expression of American class warfare. An amorality tale of the no-win situation for working-class people, when the wealthy throw money and superiority at the problem. Isolated, faced with the virus, this pill is all the more bitter to swallow.

The Terminator Series like The Godfather and The Godfather Part II before it, are burdened by staggering, genre and cinema redefining perfection. Every sequel blinded by servitude. The original Terminator, Sarah runs away from her destiny. In Judgement Day, Sarah embraces John and along with the T-800 rails against fate. The rest of the franchise, including Dark Fate, are frozen.

Writer/director Great Gerwig’s second film behind the lens is an utter delight. A formal joy, with a terrific cast in tune with the vision of a profoundly perceptive filmmaker.

“The Peanut Butter Falcon”, from writer/director pairing Tyler Nilson and Michael Schwartz, is a heartening tale of warts and all humanity of running from all that holds you back, into what you’ll hope will be your salvation. Contained within, is another jaw-dropping performance from the immensely talented Shia LaBeouf.

Writer/director and cinematographer Mizelle shows technical aptitude that significantly elevates this tale of morally bankrupt crooks preying on the dysfunctional relations of the wealthy.

This film is a Joker cosplay more than Joker. A cipher elevated to saviour by the disenfranchised and angry. It’s not only a bad joke, but it’s also a sad joke.

“Rambo: Last Blood” has the earnestness of a eulogy, and it lands like the most inappropriately hilarious roast. With every new outlandish death, laughter turned to cackling, turned to face hurting and tears. It almost registered the same sense of joy that the cowboys/Busby Berkeley musical brawl did at the end of Blazing Saddles.

MONOS is a form of cinematic possession.

Claire McCarthy's reveals Ophelia is an attempt to revise and reclaim a canonical and severely undercooked eponymous character from William Shakespeare's Hamlet.

In case you ever needed reminding of what a fucking deplorable, pig Hollywood mogul turned #MeToo pariah Harvey Weinstein is, then look no further than Untouchable.

The repeated use of the word “ghouls” spoken by Adam Driver is worth the price of admission alone in Jim Jarmusch’s delightfully bent tale of the zombie apocalypse. The Dead Don’t Die is a satire that intends to approach our impending doom with an air of disbelief; like the unimaginably strange coincidence that The Simpsons predicted the Trump Presidency.

Imogen McCluskey’s feature debut, Suburban Wildlife, is an enveloping account of millennial despondency. The moment that you realise you’re watching something with key generational insight is as Priscilla Doueihy’s Alice delivers a despondent thought about travelling the world to be enriched. Alice says, to paraphrase, how could I possibly go anywhere my parents haven’t been.

We’ve had our chance to view the resurrection and synthesis of Milch’s genius, and once again Al’s words are left ringing in our ears. Last time it was don’t go, this time it’s rest easy.

A group of old friends and former bandmates reunite to celebrate Frank’s (Bryan Brown) 60th Birthday, hosted gleefully by the warm Charlotte (Greta Scacchi as a cipher for Rachel Ward), in the visually stunning and isolated postcard town Palm Beach. There’s nothing quite like bringing the extended family together, plying them with booze and waiting for the fireworks.

Pokémon Detective Pikachu has Ryan Reynolds making one of the cutest characters ever conceived say the word “dame” and also “I feel it in my jellies”; that’s enough.

Arctic is a survivalist drama where the ferocity of the experience glacially mounts in the eyes of the phenomenally well-crafted performance of leading and lonely Mads Mikkelsen. 

One luxuriates into the sensory experience of The Old Man and the Gun. From an all-star cast around Redford like Sissy Spacek, Danny Glover, Tom Waits and Casey Affleck; to cinematographer Joe Anderson creating a vision for this throwback that would make cinematographer Gordon (The ‘Prince of Darkness’) Willis proud. 

Free Solo creates two conflicting feelings that make for one hell of an unmissable movie; awe and terror. Free Solo should come with a rating reserved for the most frightening and disturbing films. It’s an unadulterated fly on the wall view of one of the most staggering and unbelievable feats of agility, focus and precision ever attempted. 

Director Chang-dong Lee's “Burning”; a scintillating masterwork of class warfare, contemporary existential pressures and an agonising pursuit for truth in the haze of manipulated perception; contains a single staggering scene. It’s a scene that feels like it's been waiting for his entire creative life to emerge and one that continues to reverberate in my mind since that viewing several months ago.