Julia Ducournau’s debut RAW doesn’t deserved to be labelled as “barf bag” cinema, as this is one of the best horror debuts in recent memory.
While The Promise has lofty aspirations and a flimsy base, it proves too thin and drab to be truly gripping.
Indie low-budget vampire horror Night Kaleidoscopee has solid visuals but this is not enough to cover up its paper thin characters and story.
The Discovery dabbles in too many genres and never makes a compelling case for any of them, resulting in yet another lackluster Netflix film.
Most Hated Woman In America never quite lives up to the intrigue of the contentious woman and her story at the heart of the film.
Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
With The Devil’s Candy, provocative Australian director Sean Byrne proves he is one of the best genre filmmakers working today.
Otto Bell’s documentary The Eagle Huntress is empowering – even if it does frequently feel staged or exaggerated for dramatic effect.
The Sense of an Ending is a commendable effort from both director and cast, yet its underwritten characters become lost in adaptation.
The stale found footage genre is revitalised with ambitious anthology film The Dark Tapes, a stunning directorial debut from Michael McQuown.
Sometimes, Forever is a stylish, incisive look at teenage sexuality, and though it’s set in the ’90s, it does much to speak to our own time.
We got a glimpse of three beautifully inventive and genuinely moving short films made by the 18 teenagers in the BFI Film Academy programme.
The Other Ripken is a short but sweet documentary about Billy Ripken, a little-known baseball player who played for the Baltimore Orioles.
Jasper Jones, Rachel Perkins’ sweet coming-of-age story about racism in a rural town, is one of the best Australian films of recent years.
At times brimming with invention and at other moments leaving you confused as to who this is for, Nine Lives doesn’t fully deliver.