Martin Carr

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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

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

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.

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

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.

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

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.

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

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

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.

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.

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.