Jumping off the screen with vibrancy and life, All You Need is Kill shows off beautiful animation and a great original score, though the initially intriguing story delivers a little too much familiarity.

What The Rip does so well, and where plenty of modern action films fall short, is that it douses the movie in so much character, a sniffer dog would blow its balls off.

The premise may sound like it’s trying to flip the generic shark attack thriller on its head, but unfortunately, it suffers from the same shortcomings. Good performances and a stunning location cannot save Killer Whale from its poor CGI, predictable plot and weak dialogue.

28 Years Later: The Bone Temple may frustrate those craving relentless horror or expansive world-building, but that feels largely by design. This is a film far more interested in the rot within humanity than the monsters that roam outside it, using the apocalypse as a backdrop rather than a driving force.

Rough-edged, imaginative, and quietly defiant, Suffer stands as proof that scale is not a prerequisite for impact. It is a small film with a large, unwavering voice. This is a fantasy about dissent made by filmmakers who clearly believe in it. A must-see for fans of films with strong female leads, filled with drama and fantasy!

With believable performances, tangible suspense and an enjoyable mockumentary filmmaking approach, Man Finds Tape is a solid directorial debut. However, the further the storyline progresses, the further it devolves.

In a nutshell, People We Meet on Vacation is your standard rom com, but what sets it apart from others is its remarkable, emotional maturity. It succeeds where other rom-coms falter by leaning into the "messy middle" – the years of awkwardness, the fear of losing a friendship, and the quiet pain of watching someone you love, live a life without you.

Cover-Up functions as both historical document and contemporary warning. It asks viewers to consider their relationship to truth. The documentary does not demand admiration for its subject, but it does demand attention, and, perhaps, a renewed respect for the slow, difficult work of asking inconvenient questions.

Our list of the Top 50 Films of 2025 highlights a combination of the best and our personal favourites.

Song Sung Blue is a messy, overstuffed, tonally schizophrenic musical biopic held together almost entirely by two phenomenal performances and an earnest heart. Flawed but fascinating, unhinged yet sincere, this is a film I admired more in pieces than as a whole, but one I won’t be forgetting anytime soon.

Marty Supreme is thrilling, stressful, hilarious, and deeply uncomfortable in the best possible way. It’s not an underdog sports story, and it’s not just another Safdie anxiety spiral, it’s a madcap character study powered by ego, obsession, and the delusional thrill of believing you’re destined for greatness.

Springsteen: Deliver Me from Nowhere is an excellent recapturing of an intimate, challenging period of time for Springsteen and showcases the process of his bold, stripped back change of sound that he crafted to work through his emotions.

James Cameron proves he can deliver unmatched spectacle and filmmaking craft, but sadly the franchise seems to already be in the mode of rehashing beats from the previous films with very little new added to it.

In an era where “true crime” and documentaries as a whole have been hollowed out into content sludge, Predators stands out as one of the most intelligent, ethically challenging documentaries I’ve seen in years.

Ella McCay fails at the most basic level: it’s neither entertaining nor emotionally engaging. It’s an overstuffed, unfocused, smugly optimistic film that fails to live up to its aims.

Eleanor the Great is the definition of a Sunday afternoon drama. It coasts along at a slower pace and does tick off traits-and-tropes that are quite predictable, however it is carried by a brilliant lead performance (and a strong supporting cast), solid direction and intimate, personal drama.

Fackham Hall won’t convert anyone who already hates spoof comedy, and it definitely outstays its welcome by a few minutes, but as a broad, silly, relentlessly stupid satire of British period dramas, it mostly does the job. A fun, disposable cinema watch that proves parody still has a pulse, even if it’s occasionally not landing the punchline.

Seyfried’s unhinged performance is undoubtedly the standout, but The Housemaid also delivers dark twists and wicked humour, resulting in a thoroughly entertaining psychological thriller.

Eternity is a breezy, heartfelt, funny and unique spin on familiar romcom beats. Standing out from the crowd with its immersive world, great cast, big ideas and simultaneously wholesome yet at times tear jerking atmosphere.

Seeing Kill Bill in this form has only strengthened my belief that The Bride’s journey is one of Tarantino’s finest achievements. It’s everything he loves about cinema, revenge, emotion, music, mythology, genre, and sheer cinematic joy distilled into one four-hour odyssey that's as sharply written, packed with unforgettable characters, heart and extraordinarily violent action.