It’s an invitation: to listen differently, to see history through new eyes, and to appreciate the artistry of storytelling in Sign Language.

Live and Die in East LA paints a gritty portrait of struggle, loyalty, and survival in one of Los Angeles’ most storied neighbourhoods.

Joe Hollow’s debut as writer-director-star feels personal, messy, and uncompromising. And because of this, Flesh of the Unforgiven is not horror for everyone.

Despite campy, over-the-top performances and a few laughs Borderline is a messy, undercooked and familiar feeling 90 minutes that could have been better.

The level of intrigue this movie emits is an absolute testament to the script - Swing Bout is an entertaining, engaging watch from start to finish.

Baby Brother is proof of what independent filmmakers can achieve with passion, resourcefulness, and a story worth telling.

With themes of obsession, longing, and intrusion, Orchid is a haunting addition to the indie horror landscape.

Super Happy Fun Clown isn’t a film for everyone, it’s messy, outrageous, and deliberately provocative. But that’s also its charm.

The Long Walk is a brutal, tense, emotional journey, peppered with moments of snarky humour. One of the best King adaptations we’ve had!

Stans is a decent documentary that will appeal to big fans of Eminem but may also prove slightly disappointing.

The Conjuring: Last Rites is an enjoyable – yet horrific - trip down memory lane for fans of the warrens, but the climax perhaps falls into the scariest category of all – samey.

It’s a crime thriller, yes, but also a cultural statement about power, music, conscience, and the price of success.

King’s Cup is a heartfelt, music-fuelled indie that wears its emotions on its sleeve.

It may not dive as deeply as the books, but it remains largely faithful, funny, and watchable, which makes it a masterpiece by Netflix Original standards.

If you are looking for a smorgasbord of sharp British humour, toxic marital arguments, and intrusive thoughts winning the day – this is the film for you.

Caught Stealing is a electric jolt in the arm and a refreshing tonal switch up from Aronofsky.

Eddington is a bold, brutal, and hilarious time capsule of one of the strangest, ugliest, and most ridiculous chapters of recent history.

For fans of raw revenge cinema, and for those intrigued by the collision of found footage and action, it’s a refreshing jolt of energy.

The Life of Chuck is a refreshing change of genre for Flanagan, and you can certainly tell he put his heart and soul into the material.

A Stranger in the Woods stands out as a smart, slow-burning take on found footage horror.