Christmas Karma certainly isn’t boring, but not in the way you would want it to be.

If you’re into lighthearted WWI films, chorals, the beauty of Yorkshire, and Ralph Fiennes’s captivating performance then The Choral is the film for you. 

If you’re absolutely craving a modern slasher, wait to stream it with friends, popcorn, and maybe a beer or two, but just don’t expect too much in the way of carnage or catharsis.

They say all is fair in love and war. But what happens when love is war? It’s Benedict Cumberbatch versus Olivia Colman in dark comedy The Roses.

Urchin isn’t concerned with a film-like “happy” conclusion to its character’s problems; it lets you marinate in the idea that things might not actually get better - and that was refreshing.

Musicals and apocalyptic fiction don’t make for particularly common genre pairings, but in his debut fiction work, aptly titled The End (2024), Joshua Oppenheimer fuses the two to Frankensteinian effect. 

28 Years Later clearly wants to put brains back on the menu, even if it stumbles along the way.

Clornfield knows exactly what it is and isn't self conscious about it, playing out like an R-rated episode of Scooby Doo, complete with some lean and mean kills […]

Tall Tales might not be as grandiose as its title would suggest, but the real scale lies in its ambition.

Amarndo Iannacci and Sean Foley’s theatre adaptation of Dr. Strangelove is a fun but somewhat lacklustre spectacle.

Warfare does an incredible job of fulfilling what its creators set out to do: to present the SEALS in as authentic a way as possible, and simulate a real life combat scenario.

The conflicting adaptation of Tom Michell’s memoir, The Penguin Lessons, swerves between a lighthearted comedy and political drama.

Hard Truths is a masterclass in great writing and acting, and despite a shaky ending, still packs a huge punch.

Bridget Jones: Mad About the Boy is a tale bound to resonate with every woman’s experiences.

Bird is a visceral coming-of-age tale that soars thanks to its naturalistic approach to both performances and on-screen craft. 

Nothing in the film really ‘fails’, per se, and if there were a universal, objective checklist of things that make a Good Movie–there isn’t, by the way–The Brutalist meets them all.

We Live In Time is a contemplative and slow-burning exploration of love, time, grief, and the human condition.

Ronan never fails to execute a stellar performance, and The Outrun is no exception.

Subverting expectations and blending genres, Your Monster is an endearing love letter to the ones who’ve had their hearts broken, and gives them permission to embrace their fury. 

As the saying goes, the journey is more important than the destination, which makes it a shame that Blitz feels more like a scrapbook of contrived wartime escapades.