No documentary this decade may be more form-breaking than Nathan Fielder and Lance Oppenheim’s ‘You Can See Everything’, which questions the very act of documentary (or vérité) filmmaking by continually examining the deceitful natures of Elizabeth Holmes and Billy Evans.

Kitao Sakurai’s ‘Street Fighter’ is ripped from the ‘90s, with killer visuals, striking action sequences, and a remarkable ensemble cast. Its over-the-top approach may hold it back at times, but its commitment to absurdity makes it one of this year’s biggest surprises.

After making a notable splash with his sci-fi film ‘No One Will Save You’, writer/director Brian Duffield is back with his latest feature ‘Whalefall’, a ferociously visceral sci-fi film that will give audiences a new reason to not want to go back in the water.

After taking the world by storm with ‘Godzilla Minus One’, director Takashi Yamazaki returns with the highly anticipated follow-up ‘Godzilla Minus Zero’, a miraculously satisfying sequel that only enhances the visual and emotional scope.

Yet again, the work of author Jane Austen has been mined for the big screen in Georgia Oakley’s new adaptation of ‘Sense And Sensibility’. Thankfully, in Oakley’s capable hands, this adaptation is absurdly delightful and deeply romantic.

Apple aims to take the Mattel IP to new heights in ‘Matchbox: The Movie’, an action film based on their popular miniature car toy line. However, while this genre film offers plenty of entertaining set pieces, it does very little with the beloved IP at its core to justify its use of it.

Moeka Hoshi delivers one of the year’s most impactful performances in Dave Boyle’s underseen ‘Never After Dark’, a chiller that owes much to Kiyoshi Kurosawa's aesthetic and storytelling impulses.

Sixteen years after the cultural phenomenon that was ‘The Social Network’, writer/director Aaron Sorkin has returned with a follow-up in ‘The Social Reckoning’, a timely and compelling film that functions more as a companion piece than a sequel.

‘Beware Boiúna’ aims to bring back back some nineties nostalgia with thrills and chills. However, this creature feature forgets to have any fun with its inherently silly premise.

Tom Cruise sets his sights on Oscar gold with ‘Digger’, a timely, wildly ambitious and bold swing that is a thunderous wake up call as much as it is a deeply entertaining, potent social satire.

‘Big Girls Don’t Cry’ is a sidestepping melodrama in a way that Kiwi films do so effortlessly. It is an unflinching and uncompromising slice-of-life story about a teenage girl’s desire to be seen.

Robert Pattinson steps into the slippery skin of Chris Hansen in A24’s ‘Primetime’, a riveting, filthy and hypnotic character study that has firmly entered the awards conversation.

After collaborating on the war epic ‘Fury’, director David Ayer and star Brad Pitt have reunited for the new survival film ‘Heart of the Beast, a fiercely gripping and emotionally compelling tale of companionship put to the test.

Amazon continues to usher in the renaissance of the rom-com with their latest feature ‘The Love Hypothesis’, an adaptation of Ali Hazelwood’s beloved novel that may not re-invent the wheel, but is exceedingly charming nonetheless.

‘The Debut’ is further proof of Jesse Eisenberg as a major filmmaking talent. This is his biggest film to date and it really excels in its more showy, grandiose moments, yet never loses sight of grounding itself in a sense of tangibility

Beyond the use of AI slop, Danny Boyle’s ‘Ink’ does little to interrogate the figures at the heart of his indictment of tabloid journalism.

‘Shaun the Sheep: The Beast of Mossy Bottom’ is so kinetic, visually inventive and flat-out earnest, which is a testament to the incredible claymation filmmaking and comedic instincts of Aardman’s unrivalled animation teams.

Dreamworks is back with ‘Forgotten island’, a zany, wildly entertaining and heartfelt family adventure that continues to showcase a wonderful evolution for the beloved animation studio.

‘Possible Love’ may be one of Lee’s strongest relationship studies, exploring the dynamics between two couples living vastly different lives. Beyond relationship quirks and connections, Lee paints a picture of how circumstance and class shapes who we are and how we navigate our bonds with others.