Martin Carr

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.