Barbenheimer, Streets of Colour, After She Died & Insidious: The Red Door

Patrick Wilson lands some cool shots and Hiam Abass is a welcome reprieve to predictable storylines and tropes. There is a tangible gap in what might have been achieved if the red door opened through expectations.

Akin to Child's Play 3, Insidious: The Red Door sees grown-up protagonists facing old fears. Despite some flat moments, it's an interesting final chapter.

Jack Dignan enters the mortal realm with this exciting, fresh horror film After She Died. Love the innovative shots and use of connection between the core characters that a lot of us can resonate with.

After She Died captivates with its compelling concept, exploring grief's depths and the lengths one might traverse to maintain a lost bond, regardless of fallout.

Ronnie has a distinct voice and Streets of Colour is a complicated love letter to his experiences. This film centres on racism and is able to explore many layers however, in some instances, the portrayal of some characters succumbed to that very theme.

Streets of Colour shifts from typical Australian cinema, presenting Ronnie's unique take on racism. Yet, it occasionally stumbles into familiar tropes.

Oppenheimer is on the cusp of changing the world, mostly for the worst, but barely focuses on the moral quandary of this. All the Nolan beats but were missing the snarky Sorkin dialogue of A Few Good Men and smooth Tarantino style of Inglourious Basterds.

Race, culture, sexuality and other parts of identity were left in its original packaging lowering the overall impact and highlighting the heavy handed focus on the gender binary.