Emma Kiely

With a phenomenal performance from Frank Dillane and a thoughtful, open approach to those who lose their way in life, Urchin is a worthy contribution to the cinematic portfolio of British realism.

Led by brilliant performances all around with a simple but effective story, A Quiet Place: Day One may not be the most horrifying alien film, but it stands apart from its predecessors while staying true to why so many people love this franchise.

It does slightly fall off in its final act, becoming aimless and stretched, and ending around 30 minutes after it should. But its first two acts are deeply enthralling, and Vicky Krieps' lead performance is an Odyssean tour de force.

It may not feel as polished or suspenseful as Longlegs, but you can tell Perkins is having a whale of a time putting his years of horror filmmaking to the maximum.

The Fantastic: Four Steps successfully invigorates the MCU, but it’s the tectonic shift that audiences thought it would be.

Dahomey may not be for everyone. Unless you’re a history nut or anthropologist, there will be lulls when you find your concentration lagging. However, at a runtime of just over an hour, Diop makes every shot count and packs centuries of history, injustice, and triumph into a dense but vivid documentary.

It’s a weird film that eventually gets lost in itself, but there’s still much to be appreciated.

If you don’t like horror movies, then don’t go see this movie. This isn’t for you! This is for the Final Destination fans who’ve waited patiently for over a decade. It’s also for those who enjoy a ride of a movie that will raise and drop your heart rate multiple times over an hour and 47 minutes. With horror franchises constantly coming back from the dead, Bloodlines is one of the freshest we’ve seen in a while. It’s the perfect blend of going back to basics and cooking up something new, drenched in blood and snapping bones.

Polished off by a vibrant cast, Annick Blanc’s feature debut is an impressive feat and a refreshing and minimal twist on the “eat the rich” trend in Hollywood.

It’s the refreshingly modern and tender depiction of intimacy and pleasure that will stay with me. After years upon years of sex scenes that are steeped in the male gaze or are shoehorned in to attract the money of horny youngsters who have no real interest in the story, it’s about time we treat sex with the tenderness, openness, and grace that it deserves on film — and this is exactly what Lady Chatterley’s Lover does.

It’s the movie’s efforts to make this as digestible as possible for the audience through its light-hearted tone and simplistic dialogue that render it a movie you watch on Netflix with your parents and probably never think about again.

Tarot is a pretty forgettable horror movie. Dull characters, a basic plot, and very little to say with its themes render it a fairly unmemorable experience.

Laxe is aiming to shock the audience, and in that, he succeeds, but the final product suffers as a result.

What keeps the movie going when the script starts to run out of ink are the brilliant performances all around.

Mothers' Instinct is an entertaining, well-acted drama that falters under the weight of its shocking ending.

What ultimately weighs it down is the lack of a core narrative to ground the chaos and madness around it. Still, come for the views, the insanity, and Cage giving away a priceless watch for a flat white.

Borderline is a prime example of how a really great cast can elevate rather frail material.

Paper Tiger hits all the notes you’d expect from an '80s-set crime drama, but the film lacks anything else to make it stand out from the rest.

Fréwaka may not achieve everything it sets out to, but it’s still a moving horror story packed with thought and intention — and a much-needed reminder of the lyrical beauty of the Irish language.

The twist is detailed but not too convoluted, and in my view, it's not easy to see coming. If anything, A Haunting in Venice is a reminder that even when we are inundated with mystery stories, no one does it like Agatha Christie, and it's hard to believe that someone ever will again.

Instead of a flowing narrative, it’s a series of scenes, the worst and best parts of their 13-year relationship, and doesn’t come together well enough to feel like a complete story. This combined with the lack of Coppola’s vibrant, feminine, and electric aesthetic makes Priscilla a major disappointment from a true cinematic visionary who's capable of better.

Every actor probably knows that this script is pretty useless, but that doesn't stop any of them from putting their best foot forward. Including Lohan, they all look like they’re having a blast and that really comes through to the audience.

You’ll Never Find Me gets lost in its own madness. Its ending is less ambiguous and more thoughtless.

Father Mother Sister Brother does have little pockets of Jarmusch's genius scattered throughout, but not enough to make up for how unfulfilling the entire experience is.

All held together by a transcendent performance from Imogen Poots, The Chronology of Water isn’t the strongest directorial debut, but it does hold glimpses of what Stewart is capable of.

The Sound of Falling may be one of the most grim films on the female experience you’ll ever see, but it never rises above this darkness to deliver anything illuminating about being a woman.

If you want to give the 2024 film as fair a shot as possible, go in without seeing the original. However, if you only want to devote your time to seeing one version of this story, it should be the original Speak No Evil. It's truly one of the darkest, meanest, and most devastating horror films out there

The style, tone, heart, and comedy of Aardman deserve better than Dawn of the Nugget’s formulaic story which doesn’t hold a candle to the original.