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As a film, Little Women should serve as a calling card for Greta Gerwig’s imaginative directing capabilities. The thoughtfulness on display here proves that “Lady Bird” was not a one-hit wonder, and she should be considered among the most promising young directors working in Hollywood today. The stylistic and narrative choices, the dialogue, and the incredible performances all contribute to a “Little Women” that is not just a new retelling of the familiar story, but a creative and ambitious reimagining.

With Motherless Brooklyn, Edward Norton has created a retro mystery, filled with music and laughter, banter and bullets. Noir films might not be popular anymore, but this film serves as a reminder of why they remain such a beloved genre in the film community. Though its script might not always follow through on ideas or subplots, Motherless Brooklyn still presents us with a glimpse into the past, populated with great characters and sweet music. It’s a trail worth following.

When the film tones it down and remembers the core messages and nightmarish situation we are faced with, it works. When Hamilton and Arnie are back together, it helps stir up relations and emotions from two decades ago as their characters clash and help tie up the films. It’s hard not to relish seeing them back together in different ways. The opening few minutes also present some near-perfect de-aging CGI (the new Hollywood fad) that is used well and really sends chills down your spine. It sets a tone, sadly lost during the course of the film, but reminds you of what has been before and the genius of how using music, slow-motion and effective editing can work to make a Terminator a true nightmare. It’s a real shame it’s over too quickly. Where does ‘Dark Fate’ leave the franchise? The future is not set. But with a franchise that has tried to re-invent itself nearly four times now but maintain it does have the core story at heart whilst doing it, it’s not a convincing future. The originality has gone, and repeated themes and action are getting stale and no powerhouse of acting or cast can cover up these issues and problems.

I realise that a 27-year-old Welshman potentially isn’t the target audience for a comedy about a 1970s comedy legend famous for his blaxploitation era contributions, but the laughs were too few and far between for me to consider it a bonafide comedy. Rudy’s stand-up routines were funny but that was because they were all his original stuff. The film had an opportunity to explore who exactly Rudy was behind the scenes and showcase just how funny he was in his own life; Murphy gives it his all in a very good performance, but he never got a chance to showcase his genuinely hilarious capabilities often enough. This is where I struggled to connect with the film overall; I could recognise how good the performances were, but aside from a few moments, it never made me laugh out loud consistently enough. It has a very nice feel-good sentiment to it and the film is never better than when it’s just Eddie Murphy entertaining a crowd with his classic “Dolemite is my name! And **** up **** is my game!” routine, but it felt like a missed opportunity to explore the character further as opposed to focusing solely on the larger-than-life rise to **** for Rudy Ray Moore. Still, the closing line of the film is a beauty, something that I’m sure will be seen on motivational posters for years to come:

Sadly, the actors are let down somewhat by the pace and structure of the film, which could have been a Mulholland Drive-esque surreal erotic thriller, but instead the lengthy scenes of the rainy streets of Tokyo will leave viewers feeling more damp than wet. A brilliant soundtrack by Atticus Ross helps add to the tension and the cinematography by Chung Hoon Chung is simply gorgeous, all of which means The Earthquake Bird is definitely worth viewing. However, the somewhat muddled narrative and overly long running time mean the film never really lives up to its potential and it never becomes more than a sum of its parts.

Midway, thanks to its monotony and poorly developed characters, struggles to find its footing. Any interest the film has, the fleetingly well-shot action scenes, Nick Jonas, or a too-short Aaron Eckhart cameo, drowns in the CGI scenery, leaving a lifeless, soulless film to float to the surface. It retroactively improves 2001’s Pearl Harbour, a lifeless, soulless film in its own right. The Battle of Midway was a turning point for the US’ involvement in World War 2, and proved to be a much-needed victory for the allied forces after the morale crushing attack on Pearl Harbour. Midway’s biggest sins are how it both failed to translate this to the screen effectively, and in so doing, leaving us longing for Michael Bay.

Whilst those terribly familiar with the film’s initial trailer will undoubtedly guess the film’s predictable plot swerve, you can’t help but fall head over heels for its central pairing. Leaping from friend’s various sofas onto many an audience member’s Christmas party list, the awkward smiley demeanour of Emilia Clarke’s Kate works wonders as she lumbers from one questionable decision to the next, showing a willingness to be better. When not twirling around the streets, he’s giving us a cheeky impression of James Bond. It’s an endlessly charming turn from Henry Golding as Tom, with the initial mystery subsiding quickly as he strikes up a brilliant chemistry with Clarke. Arguably the film’s strongest performer however is Michelle Yeoh, who revels in the quirk of her character’s subplot, raising many hearty laughs in the process. Sure, it’s unashamedly soppy and it’s not quite Flawless. But Paul Feig’s ‘Last Christmas’ will make you want to Go To The City. A fantastically festive treat.

Honey Boy is guided by LaBeouf’s cathartic script and humanized by Jupe’s magnificent, touching performance and the way he brings nuance and heart to this role of a 12-year-old asking for the unspoken affection of his father. LaBeouf’s vision of his pain and healing is indispensable, quietly crafted through the moments when both Otis and his father are at odds. It’s this heartbreaking dynamic which renders it raw. Again, delicate to revisit, but its mere existence feels like a necessary gift to film.

Flanagan has delivered a truly special film here. Doctor Sleep manages to be both entertaining and profound, otherworldly yet grounded. By imbuing the source material with a more meditative atmosphere, Flanagan elevates an already great novel to a higher tier.

As both director and writer, Burns handles the 10+ years of political history with great ease, masterfully crafting a film that is both well-paced and fascinating from start to finish. Films like The Report can often get wrapped up in political and legal jargon, but Burns’ script is easy to follow even for audiences with little knowledge of the subject matter. That isn’t to say that it has been dumbed down; it is accessible while still being smart and informative.

Le Mans ’66 is a real crowd pleaser; interesting, thrilling, exciting, funny and ultimately heartbreaking. Up there with this year’s very best and deserves to be in conversation when award season starts to roll around. Not a film just for petrol heads, this works for everyone. A real double header of great acting and exciting action, a real treat.

Frozen II is definitely not a perfect movie, as it can feel a bit too abstract and thinly-stretched at times, but I appreciate how ambitious directors Chris Buck & Jennifer Lee were with this sequel. This was a film that could have played it safe and still been wildly successful, but there are interesting themes and admirable craft at work here. In the end, Frozen II amounts to a gorgeously animated, strongly performed, and surprisingly mature sequel. Whether you enjoyed the first Frozen or not, this is another Arendelle adventure worth taking.

In lesser hands, such moments like the gentle sway of Tom Hanks’ Mr Rogers’ entrance as he delivers the opening of his TV show, or a spontaneous singalong of his theme tune in a New York subway, would be bordering on sickly in their sweetness. It’s in the supreme smarts of director Marielle Heller in pushing Lloyd’s hardships to the forefront of the narrative. Instead of over-indulging in the potential schmaltz of Rogers that allows the film to sidestep these pratfalls, discovering a sincerity and honesty in itself which is deeply affecting. From the outset there’s surreal flourishes to Heller’s direction peppered throughout also, as Rogers positions Lloyd as the key item to discuss on an episode of his show, that only aid the enchanting quality of its central dynamic. Whilst progress has been made in opening up such conversations, depictions of men being completely vulnerable with their feelings and difficulties, whether it be grief or anxiety is still too few and far between, so to witness the emotionally engaging duel between Tom Hanks and Matthew Rhys, as they look to meet on common ground is downright beautiful and will speak to its viewers in a multitude of ways.

21 Bridges is a standard action-thriller. The most interesting parts is when Davis is piecing together what happened at a crime scene or verbally sparring with Michael, but at just over a 90 minute runtime, the action and story is tight so you’re never bored – even if it’s very likely you’ll see some of the plot twists coming from miles away.

Although the Charlie’s Angels films have always been defined by their mix of action and comedy, this instalment succeeds more at executing the former than the latter. The action sequences are exciting and well-directed, and Banks rightly doesn’t hold back on the violence. The humour, however, doesn’t always work and is stilted at times despite the cast’s best efforts. Banks’ first screenwriting effort is commendable, but the script might have been sharper and funnier had she not taken on quite so many roles. The film’s 118-minute runtime would have equally benefitted from being tightened up. Some of the purely comedic scenes are not quite funny enough to justify being kept in, so it feels like it’s dragging at certain points. Nevertheless, the tone of the film is consistently youthful and fun, and nowhere is this better reflected than in the soundtrack. No Charlie’s Angels track could ever compare to Destiny’s Child’s masterpiece ‘Independent Women, Pt. 1’, but with the likes of Ariana Grande, Nicki Minaj and Lana Del Rey on the track listing, the new pop soundtrack is pitch-perfect for its audience of young adults.

Brittany Runs a Marathon is a quirky, relatable and, at times, upsetting comedy that has far more heart than its promotional materials might suggest. Whilst this film does joke and mock stereotypes, it also gives its characters a much needed chance at redemption, and to change their ways.

If it isn’t hyperbolic to say, The Irishman is yet another masterpiece from the master filmmaker, and one which can quite easily stand alongside the films previously mentioned here, and of course all of the other incredible pieces of work in Scorsese’s filmography. It is perhaps worth knowing that this might not be the “gangster” film you’re expecting from Scorsese, but it is exactly the sort of gangster film he should be making at this point in his career. It’s reflective, powerfully, surprisingly emotional and a perfect tribute to both his films that have come before this, and the man himself. Truly exceptional.

The Two Popes is not the film I thought it would be. What seemed to be a standard performance showcase ends up being a thoughtful meditation on change, faith, and the burdens we place on ourselves as life goes on. The result is an insightful, moving, and often very funny film with something truly profound to say. Bolstered by a strong script and a pair of brilliant performances from Hopkins and (especially) Pryce, The Two Popes is a spiritual journey well-worth taking.

The Party’s Just Beginning is Karren Gillan’s feature-length directorial debut and what a film to make your mark as a director and screenwriter. The direction is assured, and the script is unexpectedly both witty and moving as she tackles some sensitive topics including suicide, grief, drug abuse, ****, and the abuse of trans women.

Smith’s super-meta approach to the whole thing plays in the film’s favour. and even allow him to poke fun at himself in the process. Whilst most of his films have never been made to be taken too seriously anyway, this one just takes its silliness and runs with it. If you watch this with no prior-knowledge to Smith’s little cinematic universe then I would put money on the fact you’re not going to enjoy this film in the slightest. It’s essentially Kevin Smith writing a love letter to his own films, revisiting characters we most likely won’t see again and giving them a nice send-off, and introducing new ones that have every chance of taking centre stage in his next films.

It’s evident from the word go that its stellar ensemble is having a blast with the material. First Logan Lucky and now here, Daniel Craig is developing quite a knack for cutting loose away from his commitments to James Bond. His Benoit Blanc is a riot whose attempts at wisdom only perplex the suspects around him, possessing an outlandish nature that is befitting of those the film lovingly references, that will likely trigger calls for a series of films headed up by this gentlemen sleuth. Moving into the family, Toni Collette’s Joni is brilliantly **** whose liberal viewpoints inevitably cause rifts with the more conservative amongst her, along with Chris Evans, who chews up the scenery as the roguish Ransom. The real breakout here, particularly in her pitch-perfect comic timing, is Ana De Armas’ Marta, whose unique perspective away from the Thrombeys plays a pivotal part in conveying the film’s weightier ideas. A truly wicked whodunnit. Rian Johnson’s Knives Out is to die for.

Blinded By The Light is perfectly poised to be the runaway feel-good hit of the summer, and it is almost impossible not to be charmed by it. A sublime slice of pure escapism, this film is the toe-tapping embodiment of joy that we all need right now.

Overall, it’s a worthy addition to the Tarantino catalogue, featuring what could almost be mistaken for a rare bit of self-reflection on the part of the famously brusque director. It’s certainly the most ****, almost melancholy, of his films, even if it does manage to fit in a bit of trademark ultra violence that feels jarring and perhaps even overly vicious, even by Tarantino standards. Great leading performances and wonderful chemistry between Leonardo DiCaprio and Brad Pitt elevate Once Upon a Time in Hollywood, creating a thoughtful, tantalizing glimpse at the Hollywood of yesteryear and what might have been.

This is Taika Waititi’s world and lucky for us we all to get live in it. Jojo Rabbit doesn’t flinch, it doesn’t pull back from the film it wants to be. It certainly won’t be to everyone’s taste but getting a film to play with this number of laughs and carry the emotional weight that it does can only be pulled together by a director brimming with confidence. The film itself totally belongs to its two young leads; Roman Griffin Davis and Thomasin McKenzie. Sure, they have solid help from a stellar supporting cast which elevates the leads, but without them, it wouldn’t play half as well and certainly would fail to deliver on the more sensitive and serious moments which are the film’s real surprises.

From Samuel Nobles’ grim synth tracks to Lauren Oppelt’s costume designing genius, the film is jam-packed with the tools to flesh out this quirky, standardized way of living. DeBoer and Luebbe’s background in comedic writing and the improv scene at The Upright Citizens Brigade Theatre deserves major applause here. Although its humor is a particular brand of absurdity that you’d find only in late night programming, those that connect with it will find it hopelessly admirable. Greener Grass premiered as part of the 2019 Sundance Film Festival Midnight programming and if that can tell you anything, it’s that this feature debut from the pairing of DeBoer and Luebbe is a total outlandish success.

Pretty much the only negative thing I can say about Abominable is that what should have been one of the most beautiful sequences is unfortunately paired with Coldplay’s extremely over-used Fix You. The violin-based score is sumptuous enough, without needing variations on tired pop songs slapped onto the soundtrack. This film is a great tourist film for China, showcasing some of its most well-known landmarks across the two and a half thousand mile journey (which they seem to mostly walk…?). There are some pretty heavy themes, from the fairly common zoological concerns (which also cropped in The Missing Link) of just leaving animals and creatures where they are instead of hunting or collecting them. But also the theme of Yi’s grief getting in the way of her appreciating the family that she has left and living her life to the fullest. As with all great animations, this means that the film can be enjoyed on multiple levels, by all members of the family. Here is hoping that this original story gains an audience and is a success, as there are several factors that could have encouraging knock-on effects if it does well at the box office. It’s not part of a franchise or the Disney behemoth, it has non-Western characters and setting and is written and directed by a woman. Abominable really deserves to be seen on a big screen, as it is just dazzlingly radiant to look at. Everest should become a beloved creation, very much in the vein of Toothless and the film has a funny and entertaining voice cast (particularly Izzard and Paulson). The family and the friendships at the centre of the story feel real and relatable, as fantastical elements only work if they swirl around something grounded in humanity. Abominable achieves this balance with some finely-tuned skill and as it is a rare animation that doesn’t have a huge team of writers, kudos must go to Culton.

Her Smell is an undoubted triumph, standing as one of the year’s best releases by a long shot. As a drama it’s already a winner, but as a weaving exploration of a band’s shelf to keep the show going, Ross has crafted an unmissable journey. Sporting a blisteringly soulful soundtrack with energy bleeding between the grooves and staggeringly raw observations of soured success, it would be a disservice to let this one go in one ear and out the other.

The entire thing just feels unfinished and unloved – which I’m sure was not the case at all but this is such a poor end product. Do you remember that time that you were at university and you were up at 3am with the 9am submission deadline getting closer by the second? Words had ceased to look like words, nothing made sense anymore and it had gotten to the point where you just said **** it” and submitted your essay without bothering to proofread it just so you were able to go and get drunk and forget about it? Yeah. That.

As a concept it’s one that begs to be explored but the script and dialogue between the cast makes the whole thing feel hollow. A group of strangers gathered together in one night can be tweaked but here it’s completely unappealing. Besides Tommy Flanagan as the standard badass and Tim McInnerny as the psycho with a medical PHD, there’s barely a threatening streak among them. There’s no tension between the group so that when things finally do blow up, it’s lacking any level of excitement it’s struggling to get a hold of. It doesn’t help that action sequences are so poorly put together you find yourself leaning forward to in your seat to see if anything of value is actually happening. Ultimately, Killer’s Anonymous is an easy target for a great idea that misses things by a mile.

Running With The Devil may lack a voice beneath the surface but it’s playful style and a standout performance from Fishburne make this at least worthy of adding to your Cage VOD library.

The film’s pacing issues are slightly bothersome, especially the last decade of Mapplethorpe’s life being covered too quickly, but this is a common issue in many biopics. Unlike other biopics, the director and fellow writer Mikko Alanne don’t shy away from depicting the facts of Robert Mapplethrope’s very controversial life. He was a bigger-than-life character, and any film would struggle to capture this, but it’s clear that Timoner’s film is a tribute to this man. And, if you’re still not convinced, then Mapplethorpe is worth seeking out for Matt Smith’s performance alone

Ad Astra, through its inherent intelligence and cerebral nature, might not cater to a mainstream audience. It’s a slow burner, favouring a sedately-paced 121-minute runtime to explore the fragility of the human condition, but that is not to say it lacks entertainment. There are a handful of truly exhilarating set-pieces set against the backdrop of planet-to-planet travel, filled with moments of true horror and simultaneous exuberance. Gray’s odyssey is a member of a rare coterie of intellectual science-fiction movies that exist to challenge the parameters of the genre it finds itself in; to be intelligent and also offer spectacle. It may not be for everyone, but by God is it an experience to remember.

Just another throwaway addition to the zom-rom-com genre. Considering the talent involved, it’s very middle of the road

Last Blood’ ends with you feeling you’ve seen all that John Rambo can give, and you have been sold nothing but the fragile, bleak and painful journey he’s taken so far. It’s just sold to us in a raw, bloody and brutal fashion – and we would not want Rambo to be anything else BUT that.

It feels strange to say this about a film where a woman loses her daughter, but American Woman isn’t a sad movie. It’s an incredibly hopeful movie about a woman who had a very sad thing happen to her, and she somehow found the strength to build a better life and not close herself off from people who love her. In “American Woman,” Debra doesn’t just survive: she lives.

The Goldfinch tries hard to juggle all aspects of its dense source material but ultimately lacks the ability to keep them all up in the air. Nevertheless, Roger Deakins’ superb cinematography and some noteworthy performances are just enough to hold your attention throughout the film’s hefty 2-and-a-half-hour runtime.

a strong film which has a bucket load of positives going for it. It’s warm and fuzzy, it has solid performances from the entire cast and it is very funny. Sadly, for me it just doesn’t stick its landing, but that is a very minor quibble. If you have the chance to catch this film which will probably have a very limited release then it is worth hunting out.

Hustlers is a funny and vibrant film with electric performances. Jennifer Lopez is the standout but the whole cast is fantastic, and the direction and script are on point. It’s so refreshing to watch a film where not only women are the focus, but that there are so few men in the film that they have less screen time than Lizzo and Cardi B who make brief yet wonderful cameos.

The Lighthouse is a bonkers, brazen, barn-storming bombshell of a movie, the kind that only comes around once in a while. With two of the best performances you’ll see in any film this year, exceptional sound design and simply stunning cinematography, The Lighthouse is everything you were hoping for and more; a modern masterpiece.

Joker is like nothing I’ve seen before. In amongst the short bursts of grim violence are some moments of genuine tragedy, more than a few dark laughs, and a final act that has to be seen to be believed. Joker isn’t necessarily a film to be enjoyed, per se; it’s a film to be experienced. That experience is an unforgettable one.

After a 20 year wait, Gemini Man fails to deliver. It lacks the fun and energy it is so desperately calling out for and the script is the biggest let down, everything falls flat. More style over substance. Definitely a missed opportunity for something great.

It is slightly regretful that Zellweger is considered a lock for Best Actress (people were saying this two months before the film was released and at least six months before the ceremony itself) because my hope would be that the performance would come from a better-written and more interesting film than this. This is not to fault Zellweger per se – she does a wonderful job in what is a standard biopic role – but there is nothing about this film that is particularly memorable or special (other than the opening and closing scenes – for ALL the wrong reasons). Judy is better directed than it is written, it has a good supporting turn from Wittrock, Gambon and Buckley are unfortunately largely wasted, but this is ultimately The Renee Show. I think I would rather watch the scenery-chewing high camp of Zellweger’s femme fatale in the Netflix show What/If – which at least knows it’s ridiculous – than ever watch this again. A shame.

Downton Abbey is not without its flaws, and even ardent fans will likely have things they wished were handled differently. If they don’t end up making another film or series in ten or so years depicting the next generation of Crawleys on the eve of World War II, everyone is bound to be disappointed. But on the whole, this is a respectable, largely satisfying resolution to a show that charmed audiences for years.

One thing El Camino skillfully achieves is keeping within the Breaking Bad montage aided by Gilligan’s ambition to write and direct. A snappy recap supplied by Netflix as well as Aaron Paul’s rendition on Jimmy Kimmel Live! was a refreshing reminder to fans of the show who don’t partake in an annual viewing. It’s no spoiler that Robert Forster makes an appearance which demands more of your attention to savour his character after the news of the actor’s untimely passing. Gilligan and Paul’s intention was simple; create a canon future and put to bed any speculation that fans cooked up for themselves, bringing resolve and justice to a dear a legendary television character who will always be forever in our memes.

Rob Grant’s horror-comedy may only have a run time of 82 minutes, but thanks to its strong writing and tenacious performances from all three of its actors, it’s a dark, twisted tale that will have you hook, line, and sinker. This film could have easily gone off course and become another forgettable ‘stranded out at sea’ flick, but the talent showcased both in front and behind the camera are evidence this ship would have been hard to sink.

A Clockwork Orange is still as brilliantly bleak as it was upon its first release, and its themes of government control and the power and influence of images and technology mean it is shockingly still relevant. A film whose reputation undoubtedly precedes it, it is also a film which feels like it has earned that reputation. A masterpiece.

I was completely glued to the screen for the entire third act. If you’re looking for a fresh, thought-provoking drama then I would certainly recommend this. Maggie Gyllenhaal is at the top of her game in The Kindergarten Teacher, delivering a performance that leaves audiences feeling conflicted. This is certainly a heavy film, but I’d also consider it a must-watch and a cautionary tale for the modern age.

You’ve probably heard the word “fun” mentioned heavily in the radius of Shazam!. This is in no way a detriment or excuse for Shazam! to be mindless. The DCEU has found themselves with an adventure that wants to examine the idea of potential and how its outcome is rendered by the hand its wielded by. Shazam! is one of the DCEU’s finest exports yet. This really is lightning in a bottle.

It’s a slow burning, safe, cat-and-mouse drama. With just one car chase and a brief opening jailbreak, the action is few and far between and has enough of the brutal violence to hit home without being gratuitous, but then this isn’t an action film. It’s not ‘Gangster Squad’. It’s a story of the real-life investigations and obstacles crossed that show how Bonnie and Clyde were taken down by clear policing and procedure and not shoot-out after shoot-out and state or statewide car chases and over-long dramatic monologues. In fact, Bonnie and Clyde are near faceless throughout; they are out there, but we are following the Rangers only and see as much as they see.

After the bones are broken and the scores are settled, Dragged Across Concrete at the height of its power is an experience in every sense of the word. Zahler has already proven to be an essential voice in the modern wave of exploitation cinema. His genre-hopping projects and style, despite their flaws, are nonetheless passionate while scarring. While Concrete isn’t quite as lean as it’s predecessor, the ambitious scale of crime epic is another exciting chapter to witness.