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.

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

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.

Fans of Justine Triet’s Anatomy of a Fall and Julia May Jonas’ Vladimir will enjoy After the Hunt’s refusal to do the thinking for you.

Through a series of confounding creative decisions, Shell decries superficiality, yet refuses to look anything less than polished.

Arriving a mere two years after the first film scared up a minor success at the box office, Scott Derrickson’s Black Phone 2 leans into its lineage and then sharpens its teeth […]

Bugonia refuses the safety of well-worn genre fare and instead thrives in its own damp moral fog.

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

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.

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.

Zak Hilditch’s We Bury the Dead is a moody, slow-burning horror drama that leans into atmosphere and emotional weight over cheap thrills - and for the most part, it works.

Genre fans looking for a siege of monsters and otherworldly horrors may come away disappointed, but those looking for a more cerebral and borderline ethereal experience will likely find themselves embracing the film and its scrappy charm.

The Shrouds presents potential by reeling in its audience at the beginning, but then loses its grip on them far too soon.

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

Despite its pitfalls, Dangerous Animals still manages to thoroughly entertain for its full duration […]

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.

Low on budget but high on ambition, BUM represents the exact type of cinema I wish I was exposed to more in high school, the kind of art that makes you realise just how few roadblocks might actually be between your concepts and the actual execution of your first feature film.

The phrase gets thrown around a lot these days, but Mission: Impossible - The Final Reckoning really does demand to be seen on the biggest screen possible.