Nikki Baughan

While the dramatic destination may be signposted fom the off, this well-observed debut from actor-turned-director Prasanna Puwanarajah handles its themes lightly, leaning into dark comedy rather than melodrama, and that approach, together with strong central performances, serves it well.

This intriguing feature debut from Bafta-nominated Scottish short filmmaker Louis Paxton makes effective use of its striking location and a trio of strong performances from Domhnall Gleeson, Gayle Rankin and Grant O’Rourke.

Ultimately, it works as both a character study and welcome example of an LGBTQ film in which none of the characters are defined by their sexuality or gender, but by their individual choices — both good, and bad.

The film moves at a languid pace, with long periods of silence, and there’s not a great deal of action until a final cathartic orgy of violence. Yet this world is richly drawn.

Exceptional sound design and a superb central performance from The Handmaid’s tale star Nina Kiri, who is almost entirely alone on screen, mean the film casts a compelling spell, even when the narrative begins to succumb to genre cliché in its final reels.

While Selena’s raw talent and infectious personality are a huge draw, the film’s real selling point is its access to Selena’s family, open and honest in their recollections.

It may be fuelled by the schmaltzy lyrics of a boy band, but this is ultimately a clear-eyed celebration of female friendship.

While the subtle world-building may be more consistently impressive than the familiar narrative, The Kitchen nevertheless makes its points with style.

Beneath all of the visual razzle-dazzle and quick-firing gags, though, Chicken Run: Dawn Of The Nugget is, fundamentally, a familiar, well-executed coming-of-age narrative, in which a youngster is compelled to spread their wings, and parents must learn to let them fly.

Despite the film’s inherent shock value, Lords Of Chaos still manages to successfully mine the explosive psychology of adolescent angst - even if the horror movie aesthetics occasionally threatens to overwhelm proceedings.

While there are perhaps a few too many jump scares, and an overwrought ending which takes some of the wind out of its sails, The Damned is powered to the finish by its creeping sense of dread.

While Frank & Louis is narratively unsurprising, its strong performances and emotional authenticity give it undeniable power.

There’s a lightness of touch to the performances, with Silver encouraging his actors to improvise on-set. Events may have made Ben something of a sadsack, but Schwartzman ensures there is still a glimmer in his eye, a hint that his lust for life is simply dormant.

Despite the endearing reticence of its subject, Westwood: Punk, Icon, Activist uses interviews, archive footage and intimate fly-on-the-wall access to get (almost) to the heart of this remarkable woman; although one suspects that Westwood will always keep some secrets firmly up her sleeve.

Despite the fact that it trades in a dogged familiarity, this magical story still retains some spark.

Underneath it all, superb performances from a stellar, experienced cast – confidently shepherded by debut director/star Kate Winslet – hit authentic, relatable notes, and save the film from sinking entirely into melodrama

Nocebo combines traditional Filipino folklore with modern concerns about cultural exploitation, and while it is prone to moments of melodramatic excess is still another intriguing work from one of Ireland’s most interesting talents.

Considine’s strong central performance gives the film an emotional resonance.

While the film’s narrative may run a familiar path from conflict to resolution, Rotem’s light, authentic touch makes it an engaging journey.

This engaging, eye-opening documentary follows Gordon over six years, as a book deal forces her to give up her anonymity and she further explores her own relationships with food, her family and society at large.

There’s something deeply compelling about this deliberately odd, carefully-calibrated neo-gothic fable, which suggests that rehabilitation can be found in the darkest of places, and that true freedom is simply a matter of trust.

A sharp screenplay and strong performances give this life as a watchable thriller, rather than just a mere pastiche.

While this expansion of Frett’s 2023 short of the same name may, at times, feel like it’s being cornered into making a political statement, the nuanced central performance from Stephan James largely prevents the message from overwhelming the story.

With the film reminding us that the American system isn’t only failing people with diabetes, the battle for affordable healthcare rages on.

Danny Boyle’s long-awaited return to the franchise he created in 2002 may lack the immediate, visceral bite of his original 28 Days Later, but nevertheless brings a satisfying mix of old horrors and new ideas.

Raging Grace walks its own line between traditional genre filmmaking and contemporary social commentary and, while more effective during its slow-burn first half, effectively draws on the systemic horrors of a traditionally white power structure which purports to help ’outsiders’ while keeping them firmly underfoot.

This guerrilla approach, together with Dynevor’s committed performance, give Inheritance an adrenaline-fuelled agility that lifts it above the normal trappings of the genre.

Talpe is excellent in the lead, his tightly-honed physique an increasingly transparent veneer for his troubled emotional state.