Parasite
When Ki-Woo (Choi Woo-shik) lands a job as a private English tutor for a rich teenager, he quickly scams jobs for his whole family. He, his parents (Song Kang-ho and Jang Hye-jin) and his sister (Park So-dam) are smart and capable but desperately poor. By night, they live together in poverty in an inner-city basement apartment. By day, with the help of assumed identities and faked qualifications, they service the needs of the wealthy.

Director Bong Joon-ho (check out Okja on Netflix) expertly manoeuvres us through black comedy, drama, horror and a genuinely unpredictable plot. It’s hard not to liken Parasite to last year’s beautiful Shoplifters, in which a tight-knit family of grifters make ends meet in urban Tokyo. But Parasite takes these archetypes and runs in an entirely different direction. What starts out farcical quickly works its way into your system. The “parasitic” family are beautifully drawn characters: devious, sharp-witted and ruthless underdogs. The murky moral swamp at the heart of it all is the exploration of how far people will go to survive when driven into poverty. If it’s not too early to call it: film of the year.

Parasite is playing at Chauvel Cinema; Randwick Ritz; Dendy Newtown; Hayden Orpheum; and Palace Cinemas Byron Bay, Central Sydney and Norton Street. Watch the trailer

Toy Story 4
Things have changed for Woody, Buzz (Tom Hanks, Tim Allen) and co. With Andy all grown up, they have a new kid, Bonnie. Woody isn’t the favourite anymore – Bonnie prefers Jessie, who she’s promoted to sheriff. But then Bonnie makes a toy of her own, Forky (Tony Hale), a plastic spork with mismatched googly eyes, pipe-cleaners for arms and a death wish. Woody takes it upon himself to teach Forky the virtue of being a kid’s favourite toy, and finds new meaning in a changing world.

Toy Story 4 is no less imaginative, fun and wild than any of the other three. It’s also startlingly smart. In the fun fair and antique store, where most of the action takes place, we meet toys abandoned by their owners and finding new life in freedom – including Bo Peep (Annie Potts) from all the previous Toy Story films, now an adventurer – or wallowing in a lost past, like the villainous defective doll Gabby Gabby (Christina Hendricks), flanked by an army of ventriloquist dummies.

The balance of wit, brilliant action and genuine pathos is, as ever, bang on. There’s also comic relief from Keegan Michael Key and Jordan Peele, and a star turn from the unavoidable Keanu Reeves playing a toy stuntman who’s been abandoned because he wasn’t as cool as he looked in the commercial.

It’s not as effective as the emotional rollercoaster that was Toy Story 3, which really felt like an end to the story. But having missed the preview screening for curmudgeonly reviewers, I saw Toy Story 4 at the matinee, where the median audience age was five. Given the reaction from that audience, something that still brings this much joy isn’t ready for the trash just yet.

Toy Story 4 is screening everywhere. Watch the trailer

Under the Silver Lake
There’s a dog killer on the loose in Los Angeles. A millionaire has gone missing. Sam (Andrew Garfield) can’t make rent, but making money is the last thing on his mind. Sam’s neighbour (Riley Keough) may have gone missing, too (although she might have just moved), and he’s going to get to the bottom of it, no matter how many cars he has to follow or women he has to spy on.

Dragging the clichès of detective stories through the ennui of the millennial condition, this pervy and paranoid film revels in its own strangeness. As Sam pursues a mystery driven by stoned logic, sex and a nagging existential dread, we’re introduced to a world full of codes, pacts, symbols and conspiracies. The flotsam of American culture – game shows, pop songs, cereal boxes and advertisements – holds the key to unlocking it all. Probably.

It’s all very David Lynch, and very Coen brothers, and very Thomas Pynchon. And perhaps Under the Silver Lake’s main shortcoming is that it never finds an identity of its own. But that’s a fitting irony in a story about a man looking for meaning in a meaningless time. It’s witty and silly and there’s plenty to pick over and decode.

Under the Silver Lake is playing at Dendy Newtown. Watch the trailer

Hail Satan?
The people of the Satanic Temple wear a lot of black, but they’re a lovely bunch; open, inclusive, loving. And with thousands of members across the US, the church’s activities range from wholesome community events and political actions to the occasional spicy ritual. In the eyes of this church, Satan isn’t a figure of evil but the ultimate rebel against tyranny. This documentary follows the church’s adherents on their mission to remind Americans that the US isn’t a Christian nation; it’s a pluralist one.

Their leader, the dedicated contrarian Lucian Greaves (if he wasn’t a dedicated Satanist he’d probably be a militant atheist) leads the group through a number of provocative actions, including efforts to erect a monument to Satan next to a planned monument to the Ten Commandments, or performing an unholy, very gay ritual over the grave of the Westboro Baptist Church founder’s mother.

But over time the group emerges as more than just a political action group trolling the religious right. They’re a community for perceived outsiders: LGBTQIA+ people, the socially isolated, and anyone who feels betrayed and left out by their socially conservative country. In that way it’s quite heartwarming. And the throwbacks to old moral panic about Satan worshippers (watch out for your kids listening to Slayer and playing Dungeons & Dragons) are as funny as ever.

Hail Satan? is playing at Dendy Newtown from July 11. Watch the trailer

The Third Wife
Vietnam, the 19th century: May (Nguyễn Phương Trà My) is barely a teenager when she’s arranged into a marriage with a wealthy landowner. She’s to be his third wife, and as she comes to terms with her future as a child-rearing servant, as well as her own sexual awakening amidst the sensuous, humid Vietnamese landscape, May finds herself under the weight of unforgiving tradition.

Not a word is spoken in the first nine minutes of this precise, visually gorgeous film, and that restraint carries through to the end. Nothing is said that isn’t necessary, leaving plenty of room for some delicate performances and stunning visuals: you can almost feel the heat, rain and light on your flesh. First-time director Ash Mayfair depicts centuries-old arranged marriages and the accompanying ecosystem of sex, love and power with 21st-century complexity.

It sparked some controversy on its release in Vietnam for allegedly exploiting its 13-year-old lead actor, but this isn’t a sensationalised or sordid film in the slightest. Nor is May depicted as merely a victim. It’s a nuanced performance befitting the film’s complex politics.

The Third Wife is screening at Dendy Newtown and Palace Cinemas. Watch the trailer

Michael Hutchence: Mystify
Just when you think the pretty average TV drama, multiple documentaries and endless tabloid articles have well and truly trodden the story of Michael Hutchence and INXS into the dirt, veteran Australian filmmaker Richard Lowenstein comes along with Michael Hutchence: Mystify and breathes real life into the rock legends.

No one is better qualified. Lowenstein has documented Australian music on film for nearly 40 years, including classics Dogs in Space, Autoluminescent: Rowland S Howard and a fair few INXS videos, and he was good friends with Hutchence. With unprecedented access to personal archives and memories of Hutchence’s friends, family and lovers, including a moving segment with Kyle Minogue, Mystify is shot through with warmth and affection. It reminds us what a performer the INXS frontman was, but that there was a vulnerable man beneath it all. And quite a pretentious one, too. But that just endears him to me more.

Michael Hutchence: Mystify is playing at Chauvel; Dendy Newtown; Dendy Opera Quays; Hayden Orpheum; Ritz; and Palace Cinemas Byron Bay, Central Sydney and Norton Street. Watch the trailer