Kaleem Aftab

Harris Dickinson steps behind the camera for a bruising, brilliantly strange debut that channels veteran auteurs like Jonathan Glazer and Andrea Arnold, while carving out a distinctive voice all its own.

Watching this Anderson extravaganza is like assembling a meticulously detailed puzzle: at times frustrating, but deeply rewarding when the full picture comes together.

A fun, bombastic, brilliant choreographed and totally enthralling film.

The hot Latin lovers have been replaced by pink snow, and the homoeroticism has been dialled down, but this is Almodóvar’s America and it’s a delight.

It's first and foremost a teenage coming-of-age tale​, 65 electric minutes​ ​packed with financial hardship, racial demonisation and reggae.

Nikou’s film is brimming of humour and excellent ideas, but is mostly a rebuke to anyone who thinks algorithms and technology are the answer to human problems.

It's such an entertaining film that it's easy to overlook the fact that the comedy only works because it depicts structural racism in such an exaggerated black-and-white manner.

Joyland’s quiet power comes not through melodrama, which Sadiq scrupulously avoids, but its deep affection for its characters. It’s a modern tale of changing gender roles and the patriarchal crisis that could just as easily have taken place in New York.

Athena’s dystopian view of our present day, showing a collapsing world with black-and-white mentalities, selfishly motivated, and with a desperate underclass left angry and adrift, feels like an urgent message. Anyone who loves their cinema to be spectacular, immersive and a rollercoaster ride will soak it up.

The powerhouse denouement is a staggering insight into how colonial legacies continues to affect lives today.