Pitfall is definitely worth a viewing, especially for that final act that really is quite kick ass, though the journey to get there leaves much to be desired.

Whilst it does feel quite patched together and rushed, Jackass: Best and Last is a gloriously puerile, camaraderie packed swan song that is a fitting farewell.

Supergirl is a solid second film for the DCU and whilst it does suffer from a messy structure and dodgy CGI and action lighting, it absolutely soars when it comes to Alcock’s performance.

Hungry treats its characters like real people and its monster like an absolute juggernaut, proving that the horror genre has a terrifying new heavyweight champion.

Toy Story 5 is another funny, well animated and genuinely heartfelt entry that simply cannot match the heights of what came before it and weighed down by a slightly dated central message.

Thanks to spectacular central performances, a sharp script that balances tears with genuine laughter, and an ending sequence that will absolutely leave a lump in your throat, its predictability never weakens its impact. Voicemails for Isabelle is a beautifully shot, deeply moving piece of cinema that provides exactly what your heart needs.

Despite its promising premise, Chum sinks faster than it can swim with an uninspired narrative leaving the film dead in the water.

Blending multiple genres and led by a career-best performance from Emily Blunt, Disclosure Day is blockbuster storytelling at its finest, adding another ambitious epic to Spielberg’s already legendary repertoire.

Driven by Lopez’s elegant screen presence and Goldstein’s contrasting awkward charm, Office Romance manages to overcome its flaws. The blend of American backdrops and British gags occasionally clashes, and the plot offers few surprises.

Backrooms is a brilliantly disturbing triumph. Kane Parsons has successfully upended mainstream horror by proving that emptiness, silence, and a simple hum can be infinitely more terrifying than any monster in the dark.

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.