Offering up stellar performances, aesthetically stunning filmmaking and a true slice of life approach that forces you to forget it’s fiction, Erupcja is a triumph.

Masters of the Universe is a bold, colourful and respectable passing of the torch that delivers on fresh, high-energy for audiences of this era. Its light-hearted ride reminds us why its fun to go to the movies in the first place.

If you’re a fan of the first two Scary Movies, you’ll have a great time with this one too. It’s fun, it’s silly, and it perhaps reminds us of a simpler time.

In the realm of horror, a stretch of asphalt is merely a conveyor belt of fresh victims. Passenger (2026) aims to transform the romanticized allure of modern "van life" into a relentless, claustrophobic nightmare.

Power Ballad is a breezy, charming, foot-tapping, funny and heartfelt rock journey that was better than expected. Good luck getting *that* song out of your head as well.

Jack Ryan: Ghost War is a very faithful follow-up “Film” to the Amazon Prime series. Of which I mean it's a generic spy thriller that is absolutely nothing you haven't seen done better hundreds of times.

Although The Yeti boasts a solid cast, ample gore and an impressive visual style, the slow pace and lack of intrigue within the storyline prevents it from truly landing.

A dauntingly intense, deeply original psychological thriller that handles a sensitive concept with lethal precision. Curry Barker delivers one of the most vital, conversation-starting horror films of the year.

A film that remembers why the franchise belonged in cinemas in the first place and makes a genuine and largely successful case for its continued presence there.

Intrigue, wit, and emotion collide in one of this years biggest surprise cinema hits.

Iron Maiden: Burning Ambition is a headbang worthy rock doc that will no doubt put a smile on the face of metal-heads and provide interesting viewing for the casual viewer.

A moving, sweet and genuinely charming piece of work that deserved considerably better than being quietly deposited on Netflix with minimal fanfare.

Normal takes the familiar tone of an action/heist trope and injects it with a healthy dose of Wheatley’s signature weirdness and Derek Kolstad’s penchant for high-octane action.

Deep Water is a film that functions like a mechanical predator: it’s lean, it’s mean, and it’s designed with a singular, crowd-pleasing focus

Mortal Kombat II is an over-the-top, fast paced, fight filled adventure packed with blood and crowd pleasing moments. The practical sets, props and costumes are highlights and the brawls are fittingly gory. However, the plot is a jumpy, messy and not particularly engrossing journey and the dialogue is a very mixed bag.

Hokum is haunting, layered, and expertly deceptive, leaving you feeling as if you’ve just woken from a fever dream. It’s a rare achievement, balancing a high-concept folk horror with a deeply personal character study.

Apex succeeds by stripping away the safety harness of the modern survival thriller. It is a film that understands that nature is indifferent to our grief, and that the monsters we meet in the wilderness are often just mirrors of our own primal desperation to stay alive.

Michael is unfortunately a mediocre and incredibly generic biopic that plays it very safe and feels like the filmmakers are doing everything in their power to make its subject the personification of perfection.

By disdaining from grand spectacles in favour of an intimate, layered exploration of class and personal collapse, No Ordinary Heist finds its strength. It trades flash for a grounded look at how ordinary lives can be pushed to the breaking point.

With a predictable but wholesome and uplifting end, Wait List: A Love-ish Story may not redefine the rom-com genre, but it offers a thoughtful, slightly offbeat take on it.