In an era of horror films that strain for prestige, Send Help feels refreshingly unconcerned with respectability. It is messy, funny, cruel, and wholly entertaining.

Sweet but not saccharin, Rental Family (2025) is a solid feel good film despite its slightly confused final message.

Fire and Ash is a compelling demonstration of what blockbuster filmmaking can still achieve when craft, ambition, and heart align - a film that will satiate fans hungry for spectacle while offering enough character work to give the stakes meaning.

Don’t forget to do the #EllaMcCayChallenge if you see a poster or standee for this at whichever cinema you see it at!

If you’re here for scale, spectacle, and a smartly realised peek into the Predator society, Badlands is a satisfying hunt.

All in all, Alien Romulus is a worthy - if conflicting - addition to the franchise.

Kinds of Kindness is a film that, while not without its immature and edgy side that seems cultivated purely to provoke, leaves you thinking long after the credits roll.

Long-time fans of the franchise will be happy to know that Kingdom serves as a serviceable yet clunky inaugural instalment for a new trilogy – teasing a slew of new concepts which will undoubtedly enrich the mythos of this long standing series in the future.

The First Omen is a quiet triumph for modern horror, understanding the delicate balance between terror and beauty, and between homage and innovation.

Liberating in all the right ways, Poor Things is a heartwarming oddball of a film, matching the gorgeous with the grotesque, showing that even in life's most dire circumstances there is still so much joy to be found.

Kenneth Branagh has given audiences a mixed bag with A Haunting in Venice. The film offers nothing new in terms of mystery or thrills, and wastes it’s strong ensemble cast, which is the real disappointment.

The Boogeyman is a decent horror film that delivers on the prerequisite jumps and jolts, despite sometimes falling into the trappings that come with elaborating on succinct source material.

Despite Ward and Colman’s impressive performances, and some beautiful Roger Deakins cinematography, Empire of Light is unfortunately weighed down by a messy screenplay that can’t untangle itself before the credits.

Summer of Soul is undoubtedly a stunning blend of art and rebellion not likely to ever be seen again on our screens.

While detractors of the first film will likely not be persuaded by Avatar 2: Aquatic Boogaloo's flashy 3D gimmicks, those on the fence or otherwise still in love with the first film […] will be pleasantly surprised to hear that not only was The Way of Water worth the wait, but it also surpasses the heights of the first film.

Combining bitter comedy with the sensibilities of an A24 horror film, The Menu marks a cool addition to the genre and establishes itself as one of the most exciting blockbusters of this year.

Barbarian is a wild ride full of twists and turns, sure to light a fire under the butt of hardened horror fans and would-be screenwriters alike.

Whether The Way of Water sinks or swims come its release in December, I remain an apologist for the original Avatar.

A star-studded cast, 1920s decor, bursts of comedy, and a film noir-inspired story come together to make David O. Russell’s new film an enjoyable romp that should be seen on the big screen.

Like any great whodunnit, See How They Run is about the investigation rather than the reveal. And with two loveable investigators, a bunch of effortless jokes, and some engaging visual storytelling, it makes for a killer night at the theatre.