Martin Carr

Plan C is an emotional journey into American culture, focused solely on one hot topic.

The Unknown Country proves to be a road trip unlike any other.

In one of the most optimistic indie films so far this year, Alex Trewhitt delivers a staggering central performance, turning this teen drama into something special.

Florence Pugh gives another magnetic performance in this hard hitting redemption drama, written and directed by Zach Braff. Aided and abetted by Morgan Freeman, an otherwise average melodrama is elevated by two movie stars on top form.

Boston Strangler has more to say than some might think by promoting a forthright, focused, and professionally progressive approach in those central performances. Roles which are only made to look easy by Knightley and Coon, purely because they embody them so effortlessly.

Taron Egerton and Toby Jones make Tetris one of the most intriguing video game movies for some time. Slick, savvy, and with no shortage of dry wit - audiences should lap this up.

Brooding, powerful, and every inch the Americana melodrama - Devil’s Peak packs a punch and just keeps on coming.

This complex political thriller from writer/director Eromose falls just short of greatness.

As movie star Sophie Wilder, Monica Barbaro is effortlessly charming, while Diego Boneta imbues assistant hotel manager Alejandro with equal amounts of charisma. 10 times better than audiences will expect, At Midnight is worth a watch.

Piled high with plot twists and packed full of peerless performances, Sharper brings together Sebastian Stan, Julianne Moore, and John Lithgow in a brooding long con thriller from Apple. Delivering something fresh from the streaming service, which continues to champion originality without limits.

The Integrity of Joseph Chambers' is a staggering study of fractured masculinity.

The Blind Man Who Did Not Want to See Titanic is unlike any rom-com ever made, being blessedly free from formula, devoid of meet-cute dynamics, and disarmingly tragic in its set-up. That being said, it is also the most inspired and inspiring piece of bittersweet comedy romance ever made, defined by unwavering optimism and unrivaled hope in the face of God-given adversity.

Tried, tested, and uninspiring - this four way relationship drama goes over old ground.

Landscape with Invisible Hand is more social commentary than alien infused rom-com. With some solid performances from Chloe Rogers and Assante Blackk, this adaptation of the M T Anderson novel will offer audiences food for thought.

This vibrant indie rom-com from director Raine Allen Miller dives into the cultural melting pot of a globally recognized city, yet showcases it through the eyes of Yas (Vivian Oparah) and Dom (David Jonsson). Slick, funny, and charming - 'Rye Lane' is one to watch.

Filled with awe-inspiring imagery, and a heartbreaking real-life tragedy, 'The Deepest Breath' is powerful stuff.

Powerful, provocative, and libel to promote debate - 'Cat Person' is a film with plenty to say. Directed by Susanna Fogel and adapted from the short story by Kristen Roupenian, this features Emilia Jones and Nicholas Braun in a hard hitting tale.

Fragmented, incoherent, and disjointed in the worst way, ‘Bad Behavior’ allows Jennifer Connelly and Ben Whitshaw a narrow escape. Writer and director Alice Englert wastes some world class talent, in a story which never really hangs together.

As complex as it is compassionate, 'Other People's Children' features standout performances, and no end of nuance. For the incurable romantic and cynic in equal measure, this film deserves to be seen by a big audience.

Fair Play is a taut two-hander featuring Phoebe Dynevor and Alden Ehrenreich on scenery-chewing form, and benefits from an understated Eddie Marsan as trading supremo Campbell.

Director William Oldroyd offers up a 50s potboiler in 'Eileen,' which is held together by an elegant Anne Hathaway and downtrodden Shea Whigham. Steeped in period perfection but hampered by an off-kilter final third, this might not be for everyone.

Carving off a slice and stepping things up a notch, Jonathan Majors delivers another formidable performance in 'Magazine Dreams.' Packing on the pounds and dialing that drama up to 10, audiences will finally get what makes this actor so special.

If anyone ever thinks of Michael J. Fox as anything other than a legend after this film, they need to re-evaluate their priorities. 'Still: A Michael J. Fox Movie' documents the life of a survivor, who is far from done fighting.

With Squaring The Circle, Anton Corbijn continues mining the musical past to celebrate his unsung heroes. In this case, he uses the documentary to explore artwork pioneers Hipgnosis, who made history with their innovative approach to album cover design.

For now, audiences will have to make do with this considered slice of comedy-drama, which throws up some familiar questions without actually digging deep enough to offer up anything conclusive.

In a completely calculated way, this feature length stab at the MTV show remains intentionally average and overtly unchallenging – as it never seeks to overshadow the imminent new entry from showrunner Davis.

If anything, Sometimes I Think About Dying is an ultimately optimistic film, which feels life affirming and poignant in parts. That it also affords Ridley one of the best roles she has had in recent memory, only makes this more of an intriguing proposition.

Babylon might be messy, but original film making doesn't come much better than this.

There is no denying that this adaptation tries to tackle the central themes, but for some reason, it never really comes together in a way that genuinely satisfies.

With some solid turns from Rebel Wilson and Charlotte Gainsbourg, The Almond and the Seahorse explores the idea of living with long term brain trauma.

Unfortunately, Smith’s would-be comeback vehicle is hamstrung by a weak script, paper-thin characters, and gets caught too often being overly earnest rather than emotionally honest, something that ultimately taints the integrity of the endeavor and will leave audiences disappointed.

A film which shows how cinema can bring people together, bond generations over a common interest and capture something timeless along the way.

With the best will in the world, audiences looking to enjoy some festive movie moments this year, should avoid Christmas at the Campbells and opt for anything else. Not even the presence of Long should factor into the decision because honestly, he looks like he would rather be anywhere else but on screen.

Brimming with wide-eyed invention and featuring an ensemble cast on solid form, Four Samosas is a concise piece of cultural comedy, with some B-movie heist elements thrown in for good measure.

Anchored by a music industry veteran in the form of Machine Gun Kelly, Taurus is defined by rock star cliche, yet transcends those narrow perimeters to deliver a poignant piece of drama refreshingly free of pretension.

Big on spectacle and bigger on life lessons, Spirited manages to surprise, inspire and entertain in equal measure.

This plucky sequel is carried on the slender shoulders of Millie Bobby Brown, who proves once and for all that she has the talent to bring in some box office. She might be a Netflix sensation, but always looks supremely comfortable on camera carving out another entry in this engaging franchise wannabe.

Understated but no less powerful for it, Causeway will remind audience what Oscar winning actors can do.

Mark Rylance is wasted in this ponderous piece of arthouse introspection.

Self-assured, brimming with conviction and intellectually demanding - Women Talking is what cinema should be about.

Expanded from a short that Dack wrote and directed previously, this mini-budget indie effort slowly draws audiences in through vicarious observation.

Darkly comic, delicately tragic, and shot through with genuine pathos - 'Raymond and Ray' is a real treat.

This is no rehashed reboot looking for a nostalgic cash-in, but a film with something to discuss. It might not hit all the targets head-on when it comes to satire or social commentary but still remains subtly incisive and hugely entertaining.

This supremely talented ensemble cast are unable to save 'The Son' from being an overly emotive disappointment.

Surrounded by a solid ensemble of cast iron characters actors, The Wonder tries to address some serious issues beneath the guise of a beguiling period piece. What audiences are ultimately left with equates to a moral fable with female empowerment holding things together.

Unfortunately, Lady Chatterley’s Lover circa 2022 fails to deliver the degree of bodice-ripping drama for which D.H. Lawrence adaptations are well known.

By combining her nostalgic take on formative family holidays with an unflinching portrait of conflicting personal identity, Aftersun intentionally delivers an emotional sucker punch few will soon forget.

Significant Other is a substandard supernatural hybrid, which wastes the talent of all those involved. Maika Monroe and Jake Lacy may work hard to breathe life into this ponderous fireside fable, but often fall short through no fault of their own.

Rather than being the After Hours Scorsese homage it hinted at, Mona Lisa and the Blood Moon loses its way, and becomes little more than a pretty distraction.

Anyone going into this film should be aware it is no intellectual exercise. Any capacity for rational thought, beyond guns and ammo, should be left outside until those credits roll. Even though the dialogue is passable in comparison to other films of this genre, those expecting an actioner on par with Aaron Sorkin would do best to avoid it.

Lou is a polished piece of action drama from Netflix and Bad Robot, which gets by on solid performances from Allison Janney and Jurnee Smollett. Combining with a unique score from Nima Fakhrara, this by-the-numbers Netflix release is worth a watch for Janney alone.

In hindsight, irrespective of the solid performances from Cuthbert as Andrea and the headliner, this film suffers from an overabundance of ideas. Leading in short order to a stylistically slick but confusingly over-packed genre mash up.

House of Darkness leaves audiences with much to consider as the credits roll and blood red titles draw a discreet veil over this contemporary Gothic offering.

Burial leans too heavily on genre convention without adding anything fresh. For that reason, any decent performances which are happening on screen fail to rescue it from mediocrity.

There is something undeniably romantic about film noir that that makes Neil LaBute’s Out Of The Blue one of his most alluring cinematic concoctions to date.

This disappointing rite-of-passage teen angst hybrid is hard work. If not for the presence of Cameron Douglas and Edouard Philipponnat, 'The Runner' would be of little interest to anyone. Thankfully, they do their best to make this at least worth a look.

Secret Headquarters is aimed squarely at young adults, takes a leaf from the 'Spy Kids' franchise, and is never less than engaging when affectionately leaning into genre cliches without trying too hard.

Ultimately, The Honor Society feels like a small-scale charm offensive featuring some genuinely engaging characters. If the worst thing audiences can say is that it feels derivative and shows too much love for John Hughes, then so be it. In the end, there may be few surprises on offer in this teen dramedy, but it is still guaranteed to make you smile.

Billed as a lockdown love story, Alone Together is more than the sum of those parts. Offering writer director Katie Holmes a perfect platform to deliver, something intimately personal with political undertones. Substance and subtlety with this subject matter is rare, so give this some attention.

The Forgiven should have been an epic morality tale with acres of grey area, but somehow misses its mark, forever scuppered by a cliched ending and a conclusive lack of closure for audiences.

Beyond the perfectly poised storytelling, awe-inspiring visuals and pulsing soundtrack, Maverick also possesses another important intangible. It brings out a feeling that’s arguably been missing from the multiplex for too long, where you will literally be able to hear a pin drop.

This searing social satire on identity in contemporary culture features a career-best turn from Karen Gillian on powerhouse form.

Choose or Die has some important things to say about the decisions we make.

In a world where everything is hyperconnected, Pirates looks to revel in a simpler time when neighborhoods were worlds unto themselves. This reveling is something it achieves with flair and room to spare, as a fully-fledged writer-director steps up to make his mark.

What this film celebrates more than anything, is the fact that it’s never too late to make a change.

With a little less preamble and a lot more momentum, The Cow might have been something special.

Emergency fails to live up to its early promise, by squandering strong performances in a search for something more satirical.

Ultimately, Something in the Dirt disappoints for a multitude of reasons, not least of which is the optimism that slowly dissipates as things progress. To call this an ambitious misfire is being polite, as the investment required going in never fully collates with the level of satisfaction audiences expect coming out.

Finn Wolfhard and Julianne Moore shine in this directorial debut from Jesse Eisenberg.

As people have been forced to spend extended periods away from loved ones, often in less-than-ideal circumstances, God’s Country is certain to hit home hard.

Dakota Johnson and Sonoya Mizuno lift this reinvention, with some genuinely engaging performances.

Unsentimental, brutally honest, and staggeringly complex in its execution, intelligent cinema like this is a rarity.

In many ways, Alice feels like a film looking to inform as well as entertain, by exploring the evolution of Black identity with unflinching honesty.

This is acting at its purest, designed to communicate and enlighten an audience in search of answers. Either through visual and verbal dexterity, or blood-curdling physicality and audible androgyny, this play still has much to teach people about the power of cinema.

This slow burn family drama from writer director Ben Cleary, takes its time tackling some delicate questions. That Swan Song also holds up as a diverting piece of mainstream entertainment, only underlines the importance of Apple and its original content.

Ben Affleck anchors this surprisingly complex drama with a career best performance, which sees director George Clooney turn his attention to the importance of friendships in life.

In an audacious departure which marks a new level of maturity, Edgar Wright invites audiences to strap in and enjoy his latest cinematic offering.

This bombastic Western debut heralds a new voice in cinema.

As another era of James Bond is brought to close and speculation builds about the future of this franchise, this reinvention feels perfectly timed.

The Card Counter marks another unique cinematic contribution from a masterful filmmaker.

Ultimately, The Colony squanders a great concept and never takes it to fruition.

This culture clash comedy is a car crash only John Cena survives.

Put simply, Old distils the human life cycle down into one unique cinematic experience. One that will cause arguments, promote debates and lead to further discussions. Something which confirms M. Night Shyamalan remains a force to be reckoned with.

The Ice Road further cements Liam Neeson’s reputation as the only action star in the 60-70 age bracket worth his salt.

In a time when identity, image and awareness are key to any discussion, A Quiet Place Part II demonstrates the possibilities of stories in the hands of those uniquely suited to explore them.

Tom Holland breaks away from the Marvel Cinematic Universe in a career defining performance. Cherry melds arthouse invention with mainstream genre to give audiences something truly special.