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.

Singer delivers a slow-burn, psychological drama that feels as heavy and permanent as the stone structures it illustrates. Monument is a film about the architecture of grief and the impossible task of capturing a nation’s pain in a single design.

California Schemin’ may not rewrite the music biopic rulebook, however it sizzles with an excitable, rebellious and charming vibe.

Thrash succeeds at being a gripping survival horror, that blends the terrifying reality of a natural disaster with the teeth of the ocean.

Undertone is a slow burning, unique horror film that understands what we hear, is far more terrifying than what we can see.

Rehashing a tried-and-tested IP is a tale as old as time, but he manages to rehash, and slash, and bite, and slice, and squelch his way to something simultaneously fresh and rotten.

Weird, wacky and wonderful from start to finish, Dead Lover might be an uncomfortable watch for some in vulgarity, comedy and tone, but will give those who enjoy unique, freaky films an unforgettable time.

The Cure leaves behind more questions than answers - feeling under explored and safe. Viewers will either love or hate this film. Ultimately, it tries to leave you in discomfort. Because sometimes, the most terrifying discovery isn’t what’s wrong with you, it’s why.

Cuidadoras is a documentary film about care in its many forms. It’s about the practical, often overlooked labour of looking after others, but also about the emotional reciprocity that can develop in those relationships.

Featuring two memorable performances from Ferreira and Montgomery, Faces of Death is a thought-provoking horror for the modern age, offering twisted scares and a frightening villain.