Martin Carr

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.