The Film Maven

It eschews the conventional biopic formula, but in doing so seems to amble aimlessly, much like its central character, in search of something to do.

Her Private Hell is an acquired taste, but once you have it it becomes impossible to get rid of. Beautifully composed – Jane Marshall Whittaker's costumes and Louise Bruun's makeup are Oscar-worthy – with a heady story, this is a movie that grips you with its incomprehensibility. It's a movie worth deconstructing, loving, and remembering.

The Odyssey is easily the biggest spectacle you'll see on-screen all year.

A game cast tries hard to make this their own, but in a landscape where Moana 2 barely registered on the pop culture scale, this live-action remake of the story only reminds audiences why the original should have stayed one and done.

Minons & Monsters is a delightful little slip of a movie. A pure throwback to the early days of cinema, not just in content but in execution. Give me more of these little yellow guys taking on different genres and I'd be there. Someone who loves movies will love this.

These are the moments where Supergirl sets itself apart, particularly with Milly Alcock's unrestrained confidence masking a broken heart.

In a year where Disney gave us the utterly darling, and original, Hoppers, Toy Story 5 feels like a reheated lunch.

Disclosure Day is less an introspective, contemplative story about alien life, but a propulsive race against time whose high stakes premise smothers everything, including any type of interest in its characters.

What you see is exactly what you get from Masters of the Universe: a big, bulky action movie that owes its life to Marvel (particularly Thor: Ragnarok). That being said, its colors, vivacity, humor, and heart makes it better than anticipated.

It's a lovable mess, but it works.