It is clear that Cloud is a well-made film with effective cinematography and performances. It’s just a shame that the narrative isn’t stronger and more confident in what it is trying to do or say.

Serpent’s Path is filled to the brim with such evocative images of mundane criminality and the bleak and brooding horror of industrial spaces, seen so often in crime films but rarely shot as atmospherically as with Kurosawa’s hand.

Now You See Me: Know You Don’t is a magic act you’ve seen before.

It swings so big that its highs are much more memorable than its lows. 

One Battle After Another is an instant classic: a restless, thrilling action flick that’s concerned not with some war in a fictional universe or far-off land, but an honest-to-god boots-on-the-ground war within modern America.

The Thread is an understated courtroom drama that is guaranteed to leave you questioning absolutely everything by its end.

This new The Naked Gun is something worth being grateful for.

As with any spin-off, it’s difficult not to compare what you are watching to the original; needless to say, Ballerina embraces this challenge by continuing to change the form of what we know the world to be, innovating its tropes and style.

Beating Hearts is a film of great indulgence, over saturating you with love, violence and earnestness, and asking for no more than an open heart and a not-so-critical mind.

Whilst certainly not as memorable as his previous works, The Phoenician Scheme still brings Anderson’s classic charm and style in spades. 

While it most likely won’t be regarded as a mobster classic when compared to some of Scorsese’s other masterpieces it is trying to channel, The Alto Knights is still a well-enough-made film that fans of the mobster genre will be able to glean some enjoyment from the feature.

Rasoulof brings the audience directly into Tehran - this film will most likely be the closest thing we’ll ever have to see into the lives of those who have been oppressed in Iran.

Inside is a well-directed debut feature that is unforgiving, and filled with stand out moments from the whole cast.

Visually, this film feels like a masterclass of instinctive storytelling.

Occasionally awkward performances and deliveries are mostly forgiven by this fine adaption of a scandalous mystery. 

It's interesting that for all the film's grappling with Arthur's identity crisis, Folie à Deux winds up having one of its own

Prima Facie is a play that refuses to be taken at face value.

Drawing out the melancholic chaos of its cinematic counterpart, The Penguin’s premiere episode enables a seamless transition in format – offering a richly textured character study which hooks you from minute aught. 

Emerging from the festival circuit in all its adrenalised glory, Strange Darling is a nightmarishly visceral masterclass in subversion which keeps you on your toes from the get-go.

The result is a refreshingly modern and idiosyncratic film that feels almost antithetical to the filmic formula that the studio system often caters for, and left me excited that a filmmaker like Shyamalan is still exercising his creative hand in original and tonally ambitious ways.