It's a sparse and ravishing meditation on faith.

A visceral, Atwoodian journey, The Other Lamb is as much an examination of narcissism and the existing structures of gendered power as it is of the limits of faith.

The good news for those not enamoured with Suspiria (2018) is that they’ll always have the original. The even better news for those who do go with this daring, uncompromised reimagining of Argento’s occult opus is that it now has a sleek, satisfying sibling.

For the most part Swiss Army Man is a visually unique gas and only feels bloated when it tries to hitch its wayward originality to some sort of real world application.

A compelling re-telling of the singer's story.

The film is often remarkable, gorgeous even - many of the shots in Youth would make excellent closing shots, including the opening shot - and funny. It's a work of wonderful moments, but it's less than momentous and, significantly, you'll never believe a single word of it. This is a pity as the performances are excellent.

A conspicuous example of political cinema made into art, The Wild Boys has more ideas in its 110 minute runtime than most filmmakers have in their entire oeuvres; jumping gleefully into the murky waters of gender politics and taking great delight in the overflowing bounty of cinephilic pleasures and vulgar perversities that spurt onto the screen.

Some films, though very much of their time in style and approach, are timeless in their ability to unnerve. De Palma’s The Fury is one such fine genre exercise.

This is Payne's most political film since Election and refreshingly eschews the gentle social realism of Sideways and Nebraska for something much more subversive. The pointillist normalcy of those films is used well as a context in which to embed the craziness of his Kaufmanesque high concept.

The film is a bravura depiction of the harsh brutalities of war that, though monotonous, is an entirely rousing entry in the annals of great WWII cinema.

While Chastain, and the surrounding cast, drive the narrative there is no denying that as time runs on it begins to unravel frustratingly, reaching an unsatisfying conclusion. Yet, Chastain's performance is one that lingers in the mind.

It’s open to debate whether this claustrophobic little parable means something. It’s devilishly clever but there’s a suspicion that this is beautiful calligraphy without words. And yet with the added circumstance of self-isolation, quarantine and quiet four-walled despair, Vivarium will undoubtedly resonate.

Ant-Man is a smart action adventure that breathes new life into a long-running franchise, told with a level of intelligence that reminds those beleaguered by the onslaught of superhero movies that the genre still has a lot to give when in the right - if not the Wright - hands.

Collins' revolutionary-lite rhetoric has become unravelled by the commercially driven decision to split the final novel into two films - ultimately lessening the satirical bite and reverting to the very gender archetypes it originally sought to challenge.

There is meaning beneath the madness, but Men & Chicken is best recommended to those who are prepared to sit through the deeply sinister absurdity.

Possum’s evocation of wrongness, that unbalancing feeling that something is off – if only you could put your finger on it – lingers long after its overdetermined climax has resolved.

Hill does his best but Jim is woefully underwritten, a shuffling loser who various other characters try to bolster with the dignity of a back story that doesn’t seem to fit his actual behaviour.

Ultimately, Everest is not concerned with the why, but with the how and it's grimly efficient at building up the drama, helped on by Clarke's wonderful character study, even if the film as a whole never quite reaches the dizzying heights of its subject.

The moral ambiguities and questions of legacy, friendship, family and integrity in Marco Bellochio’s The Traitor are the strongest points of an ambitious, punishing addition to a long line of films to explore the inner workings of the Cosa Nostra.

Serving as nothing more than a guileful show, Tcheng’s approach delivers a catwalk of clips and interviewees that becomes rather long, even in its 105-minute runtime.

Ultimately, Alverson’s The Mountain is arthouse cinema at its frostiest.

Spielberg asks audiences to fondly remember their childhood, and to fall back in love with characters, songs and stories long forgotten. At the same time, there is a didactic notion that reality is always better than a synthetic replication. You can’t comfortably have both.

The Capote Tapes show a talent that seemed to go to waste while at the same time teasing us with the possibility that there is more yet to come.

This magical piece of family-friendly escapism could well be the perfect antidote to the influx of big budget commercialism which will inevitably saturate the local multiplexes during the festive season.

A documentary that poses more questions that it answers can intrigue and beguile but there are vast areas in We Are X left crying out for further exploration.

Eisenberg avoids, for the most part, doing a Woody Allen impersonation, but his bumbling guilelessness is wearing and Stewart seems out of place, unable to ever quite get over being Kristen Stewart in a Woody Allen movie. In fact, both young leads seem nervous to have been invited and often appear simply pleased to be there.

Nothing quite competes with the blistering opening scene, but The Salvation's cast of characters mean it's never less than a fun watch.

With believability being pushed too far, and the film’s direction needing a tighter pace, even the surreal visual effects and trippy weirdness aren’t quite enough to make it work.