Spoiler Alert is a film that tells a story of a not-so-perfect relationship that will make you laugh, cry, and feel like you're part of Michael and Kit's life.

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.

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

Landscape with Invisible Hand is more social commentary than alien infused rom-com. With some solid performances from Chloe Rogers and Assante Blackk, this adaptation of the M T Anderson novel will offer audiences food for thought.

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.

Filled with awe-inspiring imagery, and a heartbreaking real-life tragedy, 'The Deepest Breath' is powerful stuff.

If you’re looking for a glossy, breezy time, 'Shotgun Wedding' will be right up your alley. If you’re looking for chemistry, substantive humor, and meaningful filmmaking - look somewhere else.

Powerful, provocative, and libel to promote debate - 'Cat Person' is a film with plenty to say. Directed by Susanna Fogel and adapted from the short story by Kristen Roupenian, this features Emilia Jones and Nicholas Braun in a hard hitting tale.

Fragmented, incoherent, and disjointed in the worst way, ‘Bad Behavior’ allows Jennifer Connelly and Ben Whitshaw a narrow escape. Writer and director Alice Englert wastes some world class talent, in a story which never really hangs together.

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.

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.

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.

Carving off a slice and stepping things up a notch, Jonathan Majors delivers another formidable performance in 'Magazine Dreams.' Packing on the pounds and dialing that drama up to 10, audiences will finally get what makes this actor so special.

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.

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.

From BAFTA-nominated director Aleem Khan, and BAFTA-winning actress Joanna Scanlan, this visceral exploration of grief offers one of the most honest and generous representations of middle-aged womanhood in recent memory.

Combining Amblin-style adventure with grind house exploitation theatrics, 'Kids vs. Aliens' is the ultimate 80s man-child movie.

For now, audiences will have to make do with this considered slice of comedy-drama, which throws up some familiar questions without actually digging deep enough to offer up anything conclusive.

In a completely calculated way, this feature length stab at the MTV show remains intentionally average and overtly unchallenging – as it never seeks to overshadow the imminent new entry from showrunner Davis.

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.

As a whole, PLANE is a fun, dumb throwback to a simpler time at the movies, and sometimes, that’s all you need.

M3GAN is a creepy, delightful new addition to the evil doll horror subgenre, complete with some killer dance moves.

Babylon might be messy, but original film making doesn't come much better than this.

There is no denying that this adaptation tries to tackle the central themes, but for some reason, it never really comes together in a way that genuinely satisfies.

I Wanna Dance With Somebody doesn't do any part of Whitney Houston justice, except for maybe her voice.

As an experience, Avatar: The Way of Water is second to none. In terms of the storytelling, though, James Cameron has fallen into the exact same pitfalls as he did on the first visit to Pandora.

With some solid turns from Rebel Wilson and Charlotte Gainsbourg, The Almond and the Seahorse explores the idea of living with long term brain trauma.

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.

Violent Night delivers everything that was promised, and it's destined to find long-lasting life as a cult classic, but there's barely anything of note beyond the superficial.

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.

The Fabelmans is a compelling family portrait, a love letter to filmmaking, and a revealing look inside the heart of one of America’s great directors. It’s well worth watching, just to see Spielberg at his most tender and personal.

A stunning debut from Jusu, 'Nanny' is brimming with incredible visuals, powerful performances, true suspense, and the power of Black feminine resilience.

Disenchanted shows what life was like after happily ever after, but it doesn't build on themes that made 'Enchanted' great.

She Said is a movie that checks all the marks regarding the treatment a matter of this kind warrants, despite a number of shortcomings that affect its cinematic value.

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.

Pinocchio is more than a movie about a wooden boy’s adventures. It’s a movie, to quote Sebastian, about “imperfect sons and imperfect fathers,” the futility and impotence of fascism, and the transcendent power of love above everything else. While a lesser movie would have been crushed by the weight of these themes, Pinocchio manages to carry them all with relative ease.

Bones feels like a culmination of what Luca does best, bringing in the body horror of Suspiria with the tenderness of Call Me By Your Name, creating a haunting tale of young love and the compromises of self-preservation. Based on the novel by Camille DeAngelis, it's a wholly original entry in the young adult fantasy genre and some of Guadagnino's strongest work to date.

Big on spectacle and bigger on life lessons, Spirited manages to surprise, inspire and entertain in equal measure.

The Whale is a frustrating watch as Aronofsky doesn’t seem to trust the actors or the audience, squashing the potential to tell an intriguing story.

Thankfully, it shines for much of its 161-minute runtime, making for a rare marriage of heart and spectacle that lands perfectly. It also makes room for us to experience grief in all of its complexity, a rare thing in movies, let alone blockbuster superhero franchises. That catharsis alone is worth celebrating in the wake of so much loss.

The documentary, although formulaic, and punctuated by tacky sequences of Gomez narrating passages from her journal over performative images that feign depth, is, in its majority, an uninhibited look into the challenges of dealing with mental illness, which is obviously exacerbated by a life in the public eye.

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.

Huesera is a sermon, a spell, a treatise on how destructive societal expectations and motherhood in general can be to someone’s identity.

With Glass Onion, Johnson and Craig have created a sequel that not only earns its keep but promises that subsequent installments in the franchise will deliver both reinvention and all the comfort and intrigue of the classic whodunit that filmmakers come back to time and time again for a reason. It’s pure fun, and it’s clear Johnson reveres the genre enough to cleverly break the rules.

Till is a moving story of grief that America needs to remember and will likely bring you to tears by the last scene, if not sooner, as it did this reviewer.

Next Exit aims high, and while it hovers perilously close to overindulgence at times, Elfman’s hugely accomplished first-time feature largely succeeds at every box it attempts to tick off.

Mark Rylance is wasted in this ponderous piece of arthouse introspection.

All Quiet On The Western Front is nonetheless a near-flawless war movie that ticks all the boxes of what the genre demands, while maintaining the source material’s subversive anti-war approach. It’s visually stunning despite holding no punches in its portrayal of war’s violent, dirty, and gory nature. Above all, Berger delivers a chilling cinematic experience that should become mandatory viewing for everyone in today’s social climate.

Ultimately, Stars At Noon provides an interesting look into an important time in history for Nicaragua from the perspective of a French director who has no direct involvement with the reality she is representing. Unfortunately, the conventionally attractive hetero-normative romance between the leads, and the espionage shenanigans they get up to, are wildly uninteresting compared to the gravitas of everything that is going on in the background.

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.

The Good Nurse may focus on someone believed to be one of the most prolific serial killers in history, but the smartest decision the dramatic thriller makes is shying away from the sensationalism of harrowing real-life events.

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.

Black Adam is nowhere near the game-changing revolution for the DCEU that was promised, but it's a solid introduction for Dwayne Johnson's antihero nonetheless.

When the movie doesn’t meander and its filmmakers understand how to use their time, V/H/S 99 buzzes with creative energy. At its best, it has all the pleasure of popping in a tape late at night and letting the television light wash over your room.

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.

The latest and (allegedly) last chapter in the Michael Meyers saga, manages to find an ending while having some shaggy and unhinged fun along the way. It might not entirely work, but 'Halloween Ends' takes you on one last wild ride and goes into some pretty unexpected places.

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.

In Martin McDonagh's morbidly hilarious meditation on male friendship, Colin Farrell and Brendan Gleeson turn in performances every bit as powerful as in 'In Bruges' and paint a heartbreaking but comic look at one happens when one man doesn't want to be friends with another anymore.

Piggy surprises and shocks all the way up to its ending. It’s fueled by teenage angst and revenge, keeping you in suspense and invested in this story of sweet, potential revenge. Ultimately, it’s at its best when it takes the time to understand Sara and stick with her no matter what. Come for the story of Sara’s revenge, and stay for the twists and turns along the way.

Hellraiser is a fresh entry to the decades-old franchise and it's also a fresh breath of air to the many fans that have long suffered from below-par sequels.

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.

Smile doesn't reinvent the wheel regarding horror, but it does offer up a smartly executed chiller bolstered by fine performances and plenty of jolting moments that is sure to please fans of the genre.

While the stakes don’t feel high, Hamm’s charismatic turn and the consistent stream of high-quality scene partners makes the end product an engaging chuckle-fest of a movie.

As Surrogate delves into murder mystery territory, the films palpable dread wanes. Yet, so strong is Willing’s handle of his material and Morassi’s compelling lead performance, that the after-effects are sure to haunt you long after the credits roll.

A blood-soaked tale of morality and vengeance backed by a hard rocking soundtrack, what 'The Retaliators' lacks in depth, it makes up as a grimy horror thriller sure to appease grindhouse fans.

Triangle of Sadness is a dark delight that has plenty to say on the state of the world we live in.

Spider is a heavy watch, and is guaranteed to haunt you long after you leave the theater.

The Sanderson sisters are devoted to their act but their campy return to Salem is far from bewitching as it tries to find its way amidst a listless plot and the repeated detours down nostalgia lane.

Decision to Leave is a finely crafted film, with stellar performances from Park Hae-il (charming, and perfect as a detective torn between emotions and duty) and Tang Wei (also perfectly cast, lovely with a depth that’s just below the surface).

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.

There's a lot to like about Olivia Wilde's sundrenched sophomore directorial effort, particularly Florence Pugh's performance, but the story feels uneven.

Despite its shortcomings, 'Meet Cute' takes viewers on a journey through the harsh reality of relationships that they won't soon forget.

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.

Keeping in mind that the mantra of Clerks III is to live your life with the knowledge that it is precious, don’t waste it watching Clerks III.

With gripping performances from the Crovetti brothers to keep us intrigued enough to keep us watching until the end, Goodnight Mommy still manages to unmask some thrills — even if the strength of its source material ties it down.

Ultimately, Blonde falls short of the noble goals it sets out for itself. What we get instead is a stunning, surreal nightmare that fails to let Marilyn Monroe be a complicated, full person. Even if it’s packaged well, what you’ll find at the heart of Blonde is something acrid and hollow.

Everything from the acting to the camerawork and the imposing score makes Fall a memorable mark in transcending fiction, making our greatest fears come to life.

If you’re not a big fan of whodunnits, potboilers, or period pieces, then See How They Run isn’t exactly going to convert you. However, if you get on the same wavelength as a deliberately oxymoronic slice of escapism that melds the modern with the classic, the self-aware with the archetypal, and the subtle with the overindulgent, then there’s a distinct possibility you’ll end up with a smile plastered across your face when the lights come up.

The larger-than-life feelings Pearl experiences are brought to life around her through the technicolor-inspired cinematography and shot composition, making for a beautiful, sometimes moving, and delightfully unhinged journey.

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.

Where 'Pinocchio' slips up in selling its magical illusion, it makes up for in honest fun and a surprising self-awareness.

Medieval works best when it throws dirt, mud, blood, and body parts at the screen, with the crunching battle scenes just about overcoming the narrative shortcomings.

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.

The Invitation aims high, and while it's regularly impressive on a visual and aesthetic level, the storytelling lets the Gothic horror down in the end.

Me Time has plenty of talent and a potentially interesting hook, but it's quickly drowned in a sea of comic mediocrity.

Samaritan had the potential to stand out among a crowded pack with Sylvester Stallone as a veteran superhero drawn out of retirement, but it doesn't bring anything new or noteworthy to the table.

Plenty of blood splatter brutality throughout Orphan: First Kill will satisfy gore hounds looking for their next fix. Bell, who previously directed the similarly themed The Boy and grizzly werewolf film Wer, proves to be a deft hand at creating tension without resorting to cheap jump scares.

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.