Prey is the first Predator sequel (well, prequel) that demands a rewatch, and the most inspired and thrilling the franchise has been since Arnold first trekked into that jungle in ‘87.

Very few have delivered on such a viscerally entertaining, intelligent and profound level as he does here.

While the documentary itself may not be remarkable in its presentation, GWAR can’t help but stand out.

One of those movies that almost feels like meditation. Marcel makes you think of both the smaller and bigger picture while also delivering plenty of laughs.

Shoddy effects and bad jokes be damned, this franchise has still got it where it counts. Love and Thunder is compelling despite its outside flaws – and hopefully isn’t the last of these to be able to overcome them.

Even decades later, their brand of one-track-mind stupidity hasn’t exactly gone out of style, for better or worse.

One of the more impressive, energetic and fantastical films of the crowded and clichéd biopic genre.

Everything comes together in a sufficiently nail-biting climax, the kind that expertly builds itself up with both anxiety and excitement.

Something in this film’s dense tapestry of horror always manages to pull you back in.

Perhaps his most poignant exploration of themes and ideas that have been with him throughout his career.

Jurassic World Dominion does next to nothing with what it has nor does it feel like any kind of real finale to what began with the 1993 original or even Trevorrow’s own 2015 reboot.

What’s new here? Well to put it simply, Watcher is first and foremost really fucking scary.

Turns what could easily be a ridiculous and cheesy tall tale into a compelling saga by the sheer power of its sincerity.

It doesn’t take full advantage of the big screen opportunity it has but at the same time it may not particularly need to.

For all of its dreamlike and arthouse qualities, Mandico’s experimental film has the benefit of an accessible and cohesive narrative. It’s a strangely intoxicating cinematic experience, one bursting with boundless imagination.

To fans that fall into the nostalgia trap (knowingly or otherwise) or others who are here just for some truly spectacular aerial stunts (they are genuinely awesome), the storytelling shortcomings of Top Gun: Maverick probably won’t matter. In many ways, the legacy sequel does improve upon its predecessor.

Disgusting carnage is made all the more impossible to look away from thanks to incredible practical effects, props and makeup. It’s astounding work.

Perhaps that overindulgence of nastiness and abandoning of subtlety is the point of a story about the inescapable, gross prevalence of the terrors of men.

A flat, dull and sadly uninspired take on King’s work that is neither scary nor exciting.