Tsai Ming-liang still has Lee Kang-sheng walking, this time in Washington DC for Abiding Nowhere.

Like an Xed brand collab, Godzilla x Kong: The New Empire is in your face – then gone.

Po the kung fu fighting giant panda returns for more of the same in Kung Fu Panda 4.

Hong Kong director Ray Yeung probes the legality and morality of same-sex partner inheritance rigths in All Shall Be Well.

If you go into Ghostbusters: Frozen Empire expecting to be hurtled to 1984, you win.

YOLO proves that sometimes once is enough.

It’s not as dark ast Kitaro, but Totto-Chan tells The Boy and the Heron’s story better.

Anthony Hopkins makes the British Oskar Schindler into a compellign wartime hero in the otherwise honourable, but pedestrian, One Life.

Tsang Tsui-shan heads back to the village in the third in her unofficial Ho Chung trilogy, Winter Chants.

Might as well cue up a Spotify playlist. You’ll learn as much as you will from Bob Marley: One Love.

Love is a Gun is artsy enough for Critics’ Week. Do with that what you will.

The Lyricist Wannabe will tell you why we should have a little more respect for Cantopop.

Da’Vine Joy Randolph steals the show in Alexander Payne’s latest angsty white guy drama, The Holdovers.

Koda Gou goes there in his Kitaro origin story, The Birth of Kitaro: Mystery of GeGeGe. Brace.

Yuya Ishii’s The Moon has a whole lot to say, just not entirely coherently.

Denis Villeneuve continues his deep dive into Frank Herbert’s sci-fi classic with Dune: Part Two.

How marvelous! Yorgos Lanthimos and Emma Stone strike again in Poor Things.

Yup. Another anonymously moralising thriller set in the foul depths of unnamed Southeast Asia. Why?

What kind of apocalyptic thriller has no gunfire? Mahalia Belo’s The End We Start From kind.

Huang Ji’s contemporary China trilogy wraps with Golden Horse winner Stonewalling.