Martin Carr

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

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.

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

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.

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

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

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.

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.

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

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.

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

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

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.

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.

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.

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.

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.

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

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

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.

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

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.

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.

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

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.

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.

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.

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.