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.

The Mighty Oaks is a reminder that the strongest sports stories are never just about sports; they’re about the roots that hold a community upright.

Five Nights at Freddy's 2 ultimately lands as a more confident, emotionally resolute chapter that isn’t afraid to get dark. Closing with a chilling kind of quiet, a reminder that some battles are lost from the inside out.

There’s something admirable about Universe25 — its ambition, its stillness, its willingness to hold mystery without rushing to explain it. When it connects, it does so with an almost devotional aura, like a whispered confession in a quiet church. But it’s also uneven, sometimes opaque to the point of frustration, and more atmospheric than emotionally affecting.

Dracula (or Dracula: A Love Tale as it is also known), is a mixed bag of an adaptation. It takes some bold swings, features some genuinely stellar visuals and an excellent lead performance from Jones. However, clashing tones, hindered pacing and inconsistent performances hold it back.

Zootopia 2 is the rare follow-up that justifies its existence. It expands the world in ways that feel purposeful, deepens its central duo without betraying their charms, and populates its streets with characters — from Gary the Snake to Pawbert the Lynx and the beleaguered Beaver — who are as funny as they are meaningful.

The ending is poignant, thought-provoking and will send shivers down your spine. Yes Repeat No is not a comforting film, but it is an essential one. It’s a bracing, unflinching interrogation of identity and conflict, delivered with creative courage and emotional intelligence.

In an era when dehumanization spreads faster than truth, this film serves as a necessary, resonant counterweight. It doesn’t simply ask viewers to remember; it asks them to move forward, together, deliberately toward a world where empathy has a fighting chance. For the Living is thought-provoking, powerful and possibly one of the best documentaries I've seen all year.

Bitter Desire isn’t trying to reinvent the thriller. This isn’t a movie that chases shock value; it’s a nice indie that wants to entertain its audience. With a runtime of an hour and ten, this is a film you can sit back and relax to, have on in the background when friends are round, or when you’re doing chores. It's a slow, but fun ride.

It was always going to be an ask to adapt a messy, rushed, second act of a stage musical into a film that feels full and coherent, and Jon M Chu clearly struggles here and Wicked: For Good suffers not being able to reach the lofty heights of the first part.

Keeper is a disappointing new offering from Perkins, especially given how solid both his prior two outings are. Stylistically and visually the film does excel throughout, the idea behind the reveal is interesting and Maslany is locked in.