Martin Carr

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

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

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.

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.

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

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

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.

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.

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.

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

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.

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

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.

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 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.

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.

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.

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

Flashes of narrative inspiration and solid performances are not enough to rescue Allswell from mediocrity, as momentum remains in short supply.

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.

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.

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

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

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.

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.

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.