The Whale is a frustrating watch as Aronofsky doesn’t seem to trust the actors or the audience, squashing the potential to tell an intriguing story.

Thankfully, it shines for much of its 161-minute runtime, making for a rare marriage of heart and spectacle that lands perfectly. It also makes room for us to experience grief in all of its complexity, a rare thing in movies, let alone blockbuster superhero franchises. That catharsis alone is worth celebrating in the wake of so much loss.

The documentary, although formulaic, and punctuated by tacky sequences of Gomez narrating passages from her journal over performative images that feign depth, is, in its majority, an uninhibited look into the challenges of dealing with mental illness, which is obviously exacerbated by a life in the public eye.

This plucky sequel is carried on the slender shoulders of Millie Bobby Brown, who proves once and for all that she has the talent to bring in some box office. She might be a Netflix sensation, but always looks supremely comfortable on camera carving out another entry in this engaging franchise wannabe.

Understated but no less powerful for it, Causeway will remind audience what Oscar winning actors can do.

Huesera is a sermon, a spell, a treatise on how destructive societal expectations and motherhood in general can be to someone’s identity.

With Glass Onion, Johnson and Craig have created a sequel that not only earns its keep but promises that subsequent installments in the franchise will deliver both reinvention and all the comfort and intrigue of the classic whodunit that filmmakers come back to time and time again for a reason. It’s pure fun, and it’s clear Johnson reveres the genre enough to cleverly break the rules.

Till is a moving story of grief that America needs to remember and will likely bring you to tears by the last scene, if not sooner, as it did this reviewer.

Next Exit aims high, and while it hovers perilously close to overindulgence at times, Elfman’s hugely accomplished first-time feature largely succeeds at every box it attempts to tick off.

Mark Rylance is wasted in this ponderous piece of arthouse introspection.

All Quiet On The Western Front is nonetheless a near-flawless war movie that ticks all the boxes of what the genre demands, while maintaining the source material’s subversive anti-war approach. It’s visually stunning despite holding no punches in its portrayal of war’s violent, dirty, and gory nature. Above all, Berger delivers a chilling cinematic experience that should become mandatory viewing for everyone in today’s social climate.

Ultimately, Stars At Noon provides an interesting look into an important time in history for Nicaragua from the perspective of a French director who has no direct involvement with the reality she is representing. Unfortunately, the conventionally attractive hetero-normative romance between the leads, and the espionage shenanigans they get up to, are wildly uninteresting compared to the gravitas of everything that is going on in the background.

Self-assured, brimming with conviction and intellectually demanding - Women Talking is what cinema should be about.

Expanded from a short that Dack wrote and directed previously, this mini-budget indie effort slowly draws audiences in through vicarious observation.

The Good Nurse may focus on someone believed to be one of the most prolific serial killers in history, but the smartest decision the dramatic thriller makes is shying away from the sensationalism of harrowing real-life events.

Darkly comic, delicately tragic, and shot through with genuine pathos - 'Raymond and Ray' is a real treat.

This is no rehashed reboot looking for a nostalgic cash-in, but a film with something to discuss. It might not hit all the targets head-on when it comes to satire or social commentary but still remains subtly incisive and hugely entertaining.

Black Adam is nowhere near the game-changing revolution for the DCEU that was promised, but it's a solid introduction for Dwayne Johnson's antihero nonetheless.

When the movie doesn’t meander and its filmmakers understand how to use their time, V/H/S 99 buzzes with creative energy. At its best, it has all the pleasure of popping in a tape late at night and letting the television light wash over your room.

This supremely talented ensemble cast are unable to save 'The Son' from being an overly emotive disappointment.

Surrounded by a solid ensemble of cast iron characters actors, The Wonder tries to address some serious issues beneath the guise of a beguiling period piece. What audiences are ultimately left with equates to a moral fable with female empowerment holding things together.

Unfortunately, Lady Chatterley’s Lover circa 2022 fails to deliver the degree of bodice-ripping drama for which D.H. Lawrence adaptations are well known.

The latest and (allegedly) last chapter in the Michael Meyers saga, manages to find an ending while having some shaggy and unhinged fun along the way. It might not entirely work, but 'Halloween Ends' takes you on one last wild ride and goes into some pretty unexpected places.

By combining her nostalgic take on formative family holidays with an unflinching portrait of conflicting personal identity, Aftersun intentionally delivers an emotional sucker punch few will soon forget.

Significant Other is a substandard supernatural hybrid, which wastes the talent of all those involved. Maika Monroe and Jake Lacy may work hard to breathe life into this ponderous fireside fable, but often fall short through no fault of their own.

In Martin McDonagh's morbidly hilarious meditation on male friendship, Colin Farrell and Brendan Gleeson turn in performances every bit as powerful as in 'In Bruges' and paint a heartbreaking but comic look at one happens when one man doesn't want to be friends with another anymore.

Piggy surprises and shocks all the way up to its ending. It’s fueled by teenage angst and revenge, keeping you in suspense and invested in this story of sweet, potential revenge. Ultimately, it’s at its best when it takes the time to understand Sara and stick with her no matter what. Come for the story of Sara’s revenge, and stay for the twists and turns along the way.

Hellraiser is a fresh entry to the decades-old franchise and it's also a fresh breath of air to the many fans that have long suffered from below-par sequels.