No Other Choice is a bitingly funny, poignant, sharp, shocking blend of desperation, satire, irony alongside a killer (pun intended) crime thriller hook. It is one of the best looking films I have seen in recent memory, the performances are excellent and the creativity sparks from the screenplay.

Shelter unfortunately leans more into some of Liam Neeson’s more generic recent action outings rather than Statham’s better works. It’s disposable, lacking stylistic flair and a unique hook and is only really carried by solid performances from the two leads and a couple of entertaining action beats.

Saipan may not fully justify its existence as a feature, but thanks to an incredible central performance from Éanna Hardwicke, solid support from Steve Coogan and a sharp, thriller-like presentation, it stands as a smart, contained drama that is far better than you would expect.

Primate does exactly what it says on the tin. It’s a quickfire, bloodthirsty, darkly chuckle worthy and well scored creature feature that relishes in its grindhouse/exploitation vibes. The characters are ultimately there as prey and the story is barely existent, but it delivers what is to be expected.

Mercy is a swiftly generic and forgettable thriller that boasts plenty of potential ideas and things it could be saying, yet opts to go for the trashy playbook.

Return to Silent Hill is an enigmatic experience. It is perhaps the most visually accurate video game adaptation ever put to film, yet it feels fundamentally disconnected from the "why" of the story.

Die My Love is an exhausting, uncomfortable and at times darkly comedic and trippy experience led by Lawrence’s powerhouse performance. The film looks great and flows through its spiralling mental breakdown of a structure.

Rental Family isn't immune to manipulative mawkishness, but it wears its heart on its sleeve to deliver a tender, thoughtful and funny exploration of loneliness in a fascinating sub-culture of Japan.

Baab may not offer comfort, but it offers recognition. In charting grief as an ongoing, shape-shifting presence rather than a problem to be solved. This film is a haunting meditation on loss that feels both deeply personal and universal. A must watch for fans of thriller films, films with strong female leads, and foreign cinema.

Rendez-vous is lean, focused, and admirably disciplined. By committing fully to its real-time structure, the film transforms an everyday scenario into a nerve-tightening psychological experience.

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.