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At The Sea boasts strong performances and compelling visuals, but its story lacks any emotional depth and wallows in its own self-obsession.
Polly Findlay’s Midwinter Break highlights the extraordinary talents of Lesley Manville and Ciarán Hinds, but doesn’t do much more.
Liz Sargent’s Take Me Home is a moving snapshot of a small family in Florida who struggles to meet one another’s unique caregiving needs.

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Alexander Skarsgård and Henry Melling star in Harry Lighton’s debut feature film, the most shockingly earnest and wildly vulnerable romance of 2025.

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For Roya, Mahnaz Mohammadi draws on her own experiences of imprisonment to create a remarkable, unflinching film of great importance.
Glen Powell effortlessly charms in How to Make a Killing, a brisk but predictable inheritance eat the rich comedy thriller.
Lance Hammer’s first film in 18 years, Queen at Sea, sees a woman’s advanced dementia heavily affect her family, leading to rich emotional depths.
At The Sea boasts strong performances and compelling visuals, but its story lacks any emotional depth and wallows in its own self-obsession.

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HEARD AT THE MOVIES

"I don't remember that part, all right? Let-Let's just not nitpick over the passwords."
One Battle After Another
"I've seen men die In ways I ain't even know was possible"
Sinners
"What do you plan to do if this little dream of yours doesn't work out?"
Marty Supreme
"Do you know what I'm feeling now? I have it all."
No Other Choice
"Have you ever dreamt of a better version of yourself?"
The Substance
"I'm just gonna go chill in my mansion or whateva."
Anora