The biopic covering the first half of the King of Pop’s rise to superstardom offers electrifying concert performances, true to life actors, and not much else. 

The Stranger exists at the razor’s edge of complacency. Ostensibly revisionist and stylistic, but also perfectly content to operate within the already existing canon of the novel, not ever straying too far or getting too experimental in its approach. 

The Drama reminds viewers that they are not what they almost did, and to give each other a chance to start over.

The film being the winner of the Enrico Fulchignoni Award, an award given at the Venice Film Festival to films that best represent UNESCO values, is perhaps the best summation of what this film strives for.

Stephan Komandarev’s Made in EU (2025) shows the stark reality of a not-too-distant past.

Trifole is 100 minutes of genre-bending Italian heartache.

If you’re into folk culture, fake dating, stunning costume designs and Hungarian dance battles, then Hungarian Wedding is most definitely the film for you. 

Pillion bizarrely retrofits Adam Mars-Jones tragicomic novella Box Hill within the structure of a rom-com, defanging the complex sexual politics of the original text in favour of a highly marketable premise.

Sirât delivers one of the most distinctive cinematic experiences I’ve had in quite some time.

With all of the nuance of the story removed, all we are left with is a toxic romance between two hot Australian actors. It’s Bridgerton with world-class cinematography and a funky soundtrack by Charli XCX.

Horror, at its most existentially terrifying, is not about answers; it is about the discomfort of not having them. In trying to return to Silent Hill, the film loses its way before it even arrives.

Is This Thing On? ultimately finds its strength in the emotional nuance of its central relationship, anchored by convincing performances from Arnett and Dern.

The Secret Agent works effectively as a Brazilian period piece and acting showcase, but the script lacks the bite to make it truly gripping.

Marty Supreme is a bombastic and intense ride from start to finish.

Song Sung Blue is sure to be the crowd-pleasing film of the New Year. It really is “so good, so good, SO GOOD!”. 

Most apparently, Hamnet is a showcase for some incredibly committed performances.

Nouvelle Vague is Linklater’s answer to the credence that all directors must one day make a film about filmmaking. This is an absurd thing to believe.

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

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.

Ultimately, Sentimental Value tells a familiar story, but the humanity of its characters and use of form in telling its story means it transcends the tropes and cliches of both films about filmmaking and family melodramas.