One Battle After Another is outrageous, hilarious, visually stunning, and emotionally charged, a rare studio epic that feels vital, and completely uncompromising.

Ten Doors is a curious little indie. It doesn’t always stick the landing, but it deserves credit for trying something different within a genre that often plays it safe.

Honey Don’t! is just a big nothing. A messy, unpolished, frustratingly empty film that squanders its cast, its premise, and its potential.

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.