Director Peter Farrelly has created a multi-layered, textured piece, and Mahershala Ali and Viggo Mortensen do remarkable jobs. You'll be hearing a lot about this film in the lead-up to the Oscars.

‘Free Solo’ is a lean, thrilling and powerful documentary, covering an impossible feat that is anchored by keeping us grounded through the eyes of the climber and his world beyond the mountains.

For a non-fiction piece of filmmaking, its emotional intelligence is grounded in such tangible intimacy, it is heartbreaking as much as it is astonishing.

A life-affirming look at a little-seen subculture, at the real heart of ‘The Skate Kitchen’ is a genuine love for the sport, community and summertime in New York.

Through Silvio’s salesman-like approach to human interaction and carnal cravings, Paolo Sorrentino paints a visceral portrait of Italy’s decline into unrestrained greed, political apathy and hedonism.

The film isn’t as funny or as scary as you’d like it to be, but its biggest and most important strength is its message, and it couldn’t be more timely.

After a series of failures for the once-sought after M. Night Shymalan, he came back with a vengeance with ‘Split’ only to, as it turns out, squander his “time in the light” once again.

Playing fast fast and loose with historical facts to emphasise drama but fumbling even that, ‘Mary Queen of Scots’ is a waste of its two talented leads, Saoirse Ronan and Margot Robbie.

The film ebbs and flows with beautiful timing between hilarious moments and those that are either gut-wrenchingly emotional or that much needed pull on the heart-strings.

This is a compact two-hander that offers a stylishly presented, off-kilter treat for fans of black comedies.

This is a film about growing up, and the gruelling moments it takes to get there. The story’s relatability, regardless of age or gender, is its most powerful weapon.

The end of a visually stunning, surprisingly moving series, with a conclusion that will leave you with a sense of satisfaction and a smile on your face. The whole family will love flying high again.

With strong direction, an almighty cast and good songs, it's fun for the whole family. While that may be satisfactory for many, where it exceeds in heart it overcompensates for a substantive drawback.

There really is no way to prepare yourself for this film. It’s insane and sincere, vicious and heartfelt, thunderous and mournful. No one, including the audience, comes out of this without bruises.

Nowhere else this year will you find such thoughtful, specific storytelling being told through song.

The film sparkles with creativity and B-movie sensibilities to illustrate great humour and heart with Jason Momoa leading with ease. Flawed but entertaining, it's hard not to be swept up by 'Aquaman'.

There are some laughs and the animation is just as great as the first film, but no new ground is covered and it comes off as painfully average... and about 20 minutes too long.

‘Vice’ is a film where all the pieces don’t fit together right. In an awards season more full of disappointments than surprises, the failure of ‘Vice’ is just another to add to the pile.

While a wonderful and gloriously rich film which also serves as hauntingly modern in subject, feminist and queer themes, this extraordinary woman's story has been told rather tamely.

‘Bumblebee’ is brimming with sincerity and heart, and turns out to be pretty good! The bar in the 'Transformers' series was pretty low, but at least it’s an improvement.

The film, based on Kyoko Okazaki's cult manga, captures the tangled and complex nature of adolescence in all of its crude and unflattering glory.

We've put all the reviews that scored 4.5 and 5 stars in one handy article, to make sure you didn't miss any gems in 2018!

2019 is already looking like another year full of great releases, so here are some of the big films to be excited about in the next 12 months.

What a huge year for movie lovers. There have been ups and downs, but we’ve been gifted with some of the finest films in a long time. We share our top five films - with controversial choices aplenty.

Its crowning achievement is just how beautifully it is a testament to the strange and enchanting lore of the Spider-Man lore. It’s the film Spidey fans will fall in love with.

Five years ago, ‘The Front Runner’ could have been a standout, but today it just comes off as tone deaf. Well made, but tone deaf.

This is a play of the kind of scale we can’t see in Australia, so this NT Live screening offers us a rare opportunity to see the play at all, bolstered by a tremendous performance from Mark Gatiss.

There are simply too many potential actions set pieces here that are underplayed or glossed over. We expected more here.

Director Gaspar Noé captures the group’s feverous plunge into brutality and psychotic inhumanity with an intimate, glazed immediacy, as the film unfolds in a series of long, gliding shots.

In a world full of teenage post-apocalyptic stories, it's difficult to stand out from the pack. This is not the way to do it.

With a performer as naturally charismatic in any genre as JLo in the lead role, it’s frustrating to watch a film so fatally misjudge the type of film its premise demands it to be.

After success as the closing night film of MIFF, the director of ‘The Coming Back Out Ball Movie’, Sue Thomson, spoke to SWITCH about the importance of the film and how it came to be.

Alfonso Cuarón has not just delivered a personal ode to a city he loves, to a time and a place that haunts him, to a figure who defined him, but given us the chance to see the same within ourselves.

Made for a mere AU$30k, with a cast of unknown actors, ‘One Cut of the Dead’ is a gore-streaked gem of independent filmmaking.

It is timely and poignant but at the same time a most uplifting, bubbly and effervescent display of a community that, while it might has its flaws, is galvanised and strong.

It's the perfect kind of biographical film - wholly entertaining, truly enlightening, and entirely fascinating. It’s a glimpse of the life of an unconventional woman, wonderfully told and portrayed.

This could be the best World War II action/horror film to date. If you’re looking for a gory Nazi-mutant kill-fest, then look no further.

While ‘Killing’ starts strongly and explores some interesting themes, it’s hard to ignore how unfinished and less-than-satisfying this film feels.

It's an entertaining ride that carries you through entirely predictable beats, so mildly underwhelming to see a follow-up to Ryan Coogler’s knockout that is instead only merely good.

A shockingly intelligent, insanely imaginative, totally unforgiving, endlessly entertaining, consistently surprising piece of satire. Boots Riley has created a film for the ages.