Writer-director Aaron Sorkin's star-studded chronicle of The Trial of the Chicago 7 is timely and terrific.

The Outpost is a cleverly, and respectfully, crafted war film that uses a segmented, episodic approach to help you invest in the characters while building up to a very impressive battle sequence.

Even with some questions left dangling, The Show offers a supremely intoxicating adventure, ripe with imagination, rank with decadence, and rabid with more, more Moore.

Hubie Halloween is aggressively stupid, sure, but it's also occasionally endearing (with a guilty chuckle or two).

Vampire vs. the Bronx offers enough kid-friendly thrills and laughs to entertain and introduce newcomers to the horror genre, while also offering a socially conscious exploration of gentrification we haven't seen in the genre before.

As a piece of political filmmaking, Lovers Rock is deft and nuanced, a celebration of joy and community built in response to oppression.

Ultimately, Lupin III: The First plays it safe. While the film adds a new visual kick, there’s not a whole lot in the way of storytelling innovation. But maybe we don’t need it.

Nomadland is a radiant celebration of humanity and community.

The Devil All the Time is made purposely provocative by Antonio Campos imbuing an unrelenting gruesomeness into every frame.

Kemp Powers' thoughtful script gives us an insight into what might have been going on behind the sports and entertainment performances that awed us, and in doing so urges us to look at what's still going on now. Director Regina King's cast delivers some of the best performances of the year, unveiling the hidden pain of public figures. Through a keen focus and confident flow, she unfurls their struggles in a poignant display to show how they live on today.

Enola Holmes, starring Millie Bobby Brown and Henry Cavill, is a toothless Fleabag with Sherlock coating.

The New Mutants didn’t deserve to be locked away for years. It’s not some unwatchable mess but rather a perfectly fine, entertaining, if at times formulaic small-scale genre movie.

The psychological thriller-horror film Antebellum mishandles its sensitive & painful subject matter on multiple levels.

Disney’s live-action Mulan is a confident blend of old and new, hiding a familiar heart under action-packed armor.

Bill & Ted Face the Music is a pleasant escape for the quarantine-stricken, a sweet and entertaining romp that defies expectations by largely recapturing what worked about the series so many years later.

Tenet is not Christopher Nolan’s masterpiece, but it is another thrilling entry into his canon. In a world where blockbuster cinema is dominated by franchises and sequels, it serves as an accomplished demonstration of the pleasures of unconnected and non-serialised original storytelling. But while it does tread new ground, Tenet is the ‘safest’ film from Christopher Nolan in some years. Following two recent ambitious movies from the filmmaker, Tenet feels a little conservative, as if Nolan’s style is a franchise rather than a framework. Despite this, it remains more interesting than most other tentpole movies and acts as a beacon for the director’s strengths.

With any other actor as the menacing lead, Unhinged would have been a TV movie or straight-to-streaming release, but Crowe and a few well-executed scenes of action still manage to hold the viewer’s interest throughout what’s essentially 90 minutes of genre filler material.

Peninsula feels fairly derivative when compared to the tighter and more terrifying Train to Busan, but on its own, as an expansion of this universe, it's a rollicking ride through a hollowed-out hellscape. It's almost a complete genre shift, but not an unrewarding one.

Pretending I'm a Superman will inspire you to get back on your board whether in real life or in the game.

The pacing drags through action set-pieces left obscured by messy compositions and limp, over-stylized visual choices. New Orleans, as the film’s setting, is wasted while the film’s gritty concept fails to deliver the desired intensity.

Bolstered by a diverse and interesting cast of a kind we don’t see nearly enough, it paints a vivid portrait of the seedier side of the Los Angeles underworld.

All in all, An American Pickle is a solidly entertaining comedy. Its oddball conceit dares audiences to take the plunge, and Seth Rogen rewards them with Herschel, who is bold, thrilling, and a little bit bonkers.

The Rental boats a strong cast, an intriguing set up, and a compelling mystery. It's a fun and feisty web of lies and deception with the added bonus of having a shadowy, stalking presence surrounding everything and everyone like a God-hand. It's a small film, but it's tense, dense, and delivers a harrowing final act.

It plays into the dystopian fantasy of being able to reinvent yourself in a lawless world, delivering a clever tale about what it takes for someone who's not a part of existence to want to reengage with life.

Greyhound has occasional bursts of violent excitement but it's overall lack of engaging characters, the unappetizing CG, and the lackluster story make for a very color-by-numbers outing from a headlining star capable of a whole lot more.

The story opens the door to a fascinating mythology of ancient warriors and immortality, although things get a little clunky when it comes time to explain how it all works. Still, The Old Guard is well worth watching if you’ve got an itch for something new.

Hamilton the stage musical may be a 10/10. But this filmed version falls short by repeatedly reminding the audience of what we missed by not being there.

The jokes in the sweet and silly Eurovision Song Contest: The Story of Fire Saga don't always pop as well as its songs.