This year at @TIFF_NET I spoke to Channing Tatum, Kirsten Dunst and LaKeith Stanfield on the red carpet for #Roofman, asking them about what they bared on screen with their characters.

Channing Tatum delivers a career-best performance in #Roofman, a sublime dramedy that transcends its eccentric ingredients by honouring the humanity at its core. My review online at @theAUreview.

31 HORRORS FOR HALLOWEEN No. 10 - GREMLINS. Really makes sense as to why this further assisted in creating the PG-13 classification as this is suitably quite wild and violent for a “kids” film. A parody of fairytales, it’s at its best when it’s nasty!

31 HORRORS FOR HALLOWEEN No. 9 - BARK. Bold, largely singular location horror asks a lot of questions and plays with perception, but once it gets to its payoff it’s really quite tragic (and makes much more sense). Spiritually, a little JOHN WICK. Michael Weston delivers!

#afterthesungoesdown from Khalid (@thegreatkhalid) is a confident collection of sexually charged, liberating Y2K inspired urban pop rhythms that signal an exciting shift in his artistry. My album review online at @theAUreview.

To coincide with the release of the Australian leg of #PrettyWomanTheMusical, I had a delightful chat with the show’s Vivian Ward, pop powerhouse Samantha Jade (@sjademusic). My interview online at @theAUreview.

The opening night to this year’s @screamfest and screening as part of @BrooklynHorror, #Affection has an appreciation for practical effects and continues the genre’s strength as a delightful playground for new voices to let their freak flags fly.

#TronAres continues the series’ mentality of taking bold swings that don’t always hit, but make a singular impact regardless. My review online at @theAUreview.

By the time Michelle Pfeiffer was 30 she’d done SCARFACE, WITCHES OF EASTWICK, MARRIED TO THE MOB, DANGEROUS LIAISONS and FABULOUS BAKER BOYS…just saying.

#TronAres: It might pain a few people to know that Jared Leto is actually good in this perfectly serviceable actioner that succeeds as both a sequel and a standalone. Script goes heavy on exposition, but the soundtrack FUCKS and Greta Lee and Jodie Turner-Smith deliver.

31 HORRORS FOR HALLOWEEN No. 8 - AFFECTION. A little confusing, but still intriguing enough cyclical thriller gives us another bodied Jessica Rothe performance, here playing a maybe mother and wife who is unsure of who she can trust in her own household. Unexpectedly quite sad.

If we wanna talk about legitimately great pop albums from artists released around the age of 35…

Featuring a terrifying, layered turn from Nick Offerman at its core that speaks to the actor’s undeniable presence, #Sovereign (@BriarcliffEnt) is a quiet, muscular drama detailing a dark moment in American history.

I really love that Nicole Kidman and Michelle Pfeiffer have this continual need to collaborate with the Fanning sisters.

Emily Blunt as a deranged Aussie? If I knew that was her vibe in IRRESISTIBLE I would’ve sought this out sooner. The material is beneath its talented cast (Blunt, Sarandon, Neill) but it’s enjoyably trashy enough for a campy watch.

31 HORRORS FOR HALLOWEEN No. 7 - EXCISION. Tragic adolescent drama that revels in gorgeous, disgusting body horror imagery, this potentially offensive and triggering piece of work is as nasty as it is damaged. Annalynne McCord is transformative. And what an ending!

31 HORRORS FOR HALLOWEEN No. 6 - EVIL DEAD RISE. Lee Cronin directed the shit out of this. Alyssa Sutherland is mother. These movies should always just soak themselves in blood and gore. Such a treat.

Michael Douglas is sending himself off with #LookingThroughWater (@GoodDeedEnt), a calm, simple drama about the complicated relationships between fathers, sons and brothers. My review online at @theAUreview.

The Michelle Pfeifferness of this!

31 HORRORS FOR HALLOWEEN No. 5 - DOOM. I know this disappointed a lot of folks in 2005, and I’m not saying it’s good, but it’s also pretty fun in that mid-2000s trashy, violent way. Baby Dwayne understood the assignment as far as I’m concerned.