Wasteman is a brutally grounded, intense and often uncomfortable British prison drama that lands with constant unease.

The Testament of Ann Lee is a spellbinding, exhausting, and singular experience anchored by a career-best performance from Amanda Seyfried, and one of the most visually and musically distinctive films of the year.

The Voice of Hind Rajab is a harrowing, deeply upsetting experience, and one of the most unforgettable films of the year. It’s not an easy watch, nor should it be.

Given the small budget and simplistic plot that has a lot of work to do in order to keep us intrigued, Last Ride is highly commendable. The naturalistic bond between the boys hooks you in and manages to keep you invested, whilst the slew of threats and horrors ensure you’re kept on your toes.

Whistle is a stylish, gory throwback that knows its horror history but is too content to repeat it. While Dafne Keen’s performance and some genuinely gnarly kill sequences keep it afloat, the film’s lack of original narrative depth and its over-reliance on established tropes prevent it from becoming a new classic.

Crime 101 is highly derivative of many classic crime-thrillers (especially Michael Mann’s work), but the vintage vibe, slow-pacing and character-focused approach makes for a better than expected heist-thriller.

Wuthering Heights is a bold, beautiful, intoxicating, brash statement of a film, which showcases genuine heartbreak and sensitivity yet also does find its feet occasionally stepping in trashy paperback fluff with a little stuffiness in the second half.

The Strangers: Chapter 3 is a polarizing conclusion. Departing from 2008’s less is more vibe and pivots into a dense, lore-heavy nightmare.

Looney Tunes: The Day the Earth Blew Up is a very easy film to like. It’s funny, visually delightful with its vibrant 2D animation, and made with a clear affection for these characters and their legacy.

Send Help isn’t subtle, it’s a wild, witty, ride. It’s an exploration of human behaviour when civilisation is gone and roles are reversed. If you like your comedies with a side of tension, your survival stories with a twist of absurdity, and your films filled with energy and heart, this is one island trip you don’t want to miss.

The Investigation of Lucy Letby is less about uncovering new facts than about exploring how narratives are built, consumed, and sustained. As a documentary, it is measured, absorbing, and ethically thorny.

Greenland 2: Migration is the definition of a diminishing-returns sequel. It doesn’t disgrace the original, but it also doesn’t justify its own existence beyond being another sturdy Gerard Butler vehicle to be dumped in January.

H is for Hawk is a gentle, visually rich, and thoughtfully acted exploration of grief that values subtlety over catharsis. It doesn’t always find the emotional lift its subject promises, but Claire Foy’s performance, the extraordinary presence of Mabel the Hawk, and the film’s calm, observational beauty make it a worthwhile watch.

The Wrecking Crew is an enjoyable ride that delivers exactly what it promises: solid action, strong lead chemistry, and a heartfelt core. It doesn’t reinvent the wheel, but it entertains, and for fans of the genre, that’s enough.

No Other Choice is a bitingly funny, poignant, sharp, shocking blend of desperation, satire, irony alongside a killer (pun intended) crime thriller hook. It is one of the best looking films I have seen in recent memory, the performances are excellent and the creativity sparks from the screenplay.

Shelter unfortunately leans more into some of Liam Neeson’s more generic recent action outings rather than Statham’s better works. It’s disposable, lacking stylistic flair and a unique hook and is only really carried by solid performances from the two leads and a couple of entertaining action beats.

Saipan may not fully justify its existence as a feature, but thanks to an incredible central performance from Éanna Hardwicke, solid support from Steve Coogan and a sharp, thriller-like presentation, it stands as a smart, contained drama that is far better than you would expect.

Primate does exactly what it says on the tin. It’s a quickfire, bloodthirsty, darkly chuckle worthy and well scored creature feature that relishes in its grindhouse/exploitation vibes. The characters are ultimately there as prey and the story is barely existent, but it delivers what is to be expected.

Mercy is a swiftly generic and forgettable thriller that boasts plenty of potential ideas and things it could be saying, yet opts to go for the trashy playbook.

Return to Silent Hill is an enigmatic experience. It is perhaps the most visually accurate video game adaptation ever put to film, yet it feels fundamentally disconnected from the "why" of the story.