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!”. 

My expectations were on the ground, and now they’ve got a bit of altitude.

Christy is an engaging and moving biopic about an incredible woman.

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.

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.

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!

Eternity is a must watch. It’s not just a great romantic comedy, but also one which has a perspective that almost none of its genre companions do.

If you love Shakira’s vocals, slow burn romances, justice, and films that encourage critical thinking, then Zootopia 2 is the film for you. 

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.

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

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

Wicked: For Good is good, not great. But that’s okay - it still manages to hold space for an extremely emotionally satisfying ending.

Oz Perkins’s Keeper is a film that wears its intentions on its sleeve: intimate horror wrapped in relationship anxiety, an exercise in dread that occasionally achieves something quietly memorable.

Ultimately, The Running Man (2025) is a curious beast: a film that wants to critique spectacle while indulging in it, that gestures toward emotional depth but never earns it.

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

Die My Love excels as a showcase for Lawrence and Pattinson, two actors at the top of their A-game.