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.

The History of Sound ultimately succeeds as an elegy for bonds never granted room to flourish, and its quiet power lingers long after the frame cuts to black.

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

A good historical film doesn’t need to be perfectly accurate, but it does need to portray its era with enough authenticity to spark fascination and encourage viewers to learn more.

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.

Lurker is an impressive independent film that presents itself as a cautionary tale for the modern and inter-connected world we live in today. 

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

A slow burn, but a gripping one, Two Prosecutors is among the most fascinating films you’ll see this year.