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In trying to be greater than your average horror film, it fails terribly at everything, playing less like an instalment and more like a filler episode while audiences await the killer finale.
You'll jump, you'll scream, you'll look away, you'll giggle, you'll gasp and you'll leap out of your seat with joy, and emerge back out into the sun still tingling from the adrenaline rush.
It's just a bad romantic movie, complete with its bad jokes and acting. While it's fun to watch, it's predictable and silly, and inevitably not worth your time.
Valdimar Jóhannsson certainly has ambition, and despite not quite effectively building a unique mood, it suggests he has the talent to swing for the fences in future eerie genre outings.
A haunting, at times gothic, ultimately overwhelming look into the abyss of a man who saw pain and chose to laugh. And it is one of the most important, powerful and accomplished films of the year.
In the pantheon of 21st century LGBTQIA+ cinema, this film can't hold a candle to an array of more thoughtful pieces. The crusade to tell Joe Bell's story must go down as a missed opportunity.
There's nothing more disappointing than seeing a film with a great premise completely fumble its execution. Perhaps, in another timeline, there's a version of this movie that works.
It explores our dreams, our pain, and our disparity when what we love is jeopardised. But the most rewarding aspect is seeing the tour de force on display from Nicolas Cage.
This documentary has everything - immigration, rags to riches, riches to rags, heart, soul, family, love, friendship. It does it all with incredible characters, amazing stories and the humble donut.
A richly told and deeply vulnerable film. A transfixing tale of love's ability to consume you, the dark things it can make you say and the even darker things it can make you consider.
For a TV adaptation it's a surprising success, and while it's clearly made for a younger audience, it's still an absolute delight. It's charming, adorable and a return to form for a pure kids' film.
It's cute, peaceful and occasionally funny thanks in large part to its cast. And there's an adorable dog, always a bonus.
A window into an extraordinary moment in time, the effects of which are still being felt. What was once lost to the public can now, half a century later, be seen for the first time.
Leos Carax is a purveyor of dreams, and 'Annette' is a gorgeous dream to swim in, even just to see and hear the many sights it has to offer.
A visually stunning and long-awaited return for one of horror's great slashers, but his modern comeback doesn't come without a few rotten candies.
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Despite some decent low-budget effects and an unexpected turn of events leading into the final stretch, the screenplay holds it back from being a story that you'll be thinking about the next day.
The series may now be cheap toys and pointless prequels, but underneath is a guide to young people that they can overcome the demons, things can get better and that they are stronger than they think.
Whether or not you completely buy into Zola's story, it's impossible not to get drawn into the frenetic and seductive storytelling. This film marks an exciting new era of viral storytelling.
Over 40 years on, the film still feels like a force of nature, eliciting something both subtle and primal. It gets in your bones, and it's rightfully a touchstone of horror.
Visually arresting but narratively vegetative, 'Gaia' is an eco-horror flick that never takes root.
It's been a bloody long time since we've been in a cinema - but with lockdown coming to an end, Sydney residents are spoiled for choice with their Sydney Film Festival offerings this year.
This film holds complexity. It isn't just about boy chasing girl - it's about girl facing up to her own self. Heck! It's about relationships and belonging, not necessarily love and romance.
A very entertaining documentary that serves as the perfect jumping-off point to begin learning about sex, raising some awkward questions, and teaching you not to be afraid to learn about your body.
This film adaptation delivers barely a whimper. It doesn't serve the material, it doesn't serve Ben Platt, doesn't serve Evan Hansen and, most of all, doesn't serve its audience.
The film is tremendously entertaining, wickedly funny and, at times, enormously silly. But it has persisted as a cultural icon largely thanks to its surprisingly powerful subtext.
This sequel is more of the same mindless fluff that will hold children's attention, but there are so many better films you could show them instead. It's just a waste of time.
It's one of the finest films ever made, but not because it is clever or technically impressive. It's a masterpiece because it is humane, as humane as one could ever hope for cinema to be.
It's hard not to walk away from 'CODA' without a smile on your face... and some moisture in your eyes. With authentic performances, storytelling and a whole lot of heart, it's a must-watch experience.
An effective and unforgiving look at a sickening moment in human history, though its messages remain timely, as seen through the eyes of a woman torn between motherhood and the motherland.
After 40 years, there are still very few films like it. It could be called a classic comedy or a classic horror film, but it is undeniably a classic.