• The Matrix Resurrections

    The Matrix Resurrections


    Manages to straddle the line between soft reboot and genuinely saying something new.  20+ years has diminished the freshness of the action sequences but sharpened the narrative purpose.  Far, far better than it’s got any right to be.

  • The Tragedy of Macbeth

    The Tragedy of Macbeth


    The Scottish Play as film noir.  Visually stunning, with stylisation drawn from the likes of Lang and bordering on the impressionistic.  McDormand makes for an excellent Lady M, while Washington gives an earnest, initially muted performance that ramps up satisfyingly.

  • Lamb



    A clever, creepy, sweet, sad modern fairytale, with the horror kept largely implicit, not least through the constant daylight setting and the light performances by the cast.

  • Benedetta



    Ironically for a film about a nun’s self-belief in being the vessel for Christ, it can’t decide if she was real or fake.  Despite that Verhoeven - in his element in a film about sex and faith - combines the lurid and the lyrical, aided by Efira’s strong turn.

  • Belfast



    Slight but absolutely full of heart, with an economic but well-essayed child’s view of the Troubles and family life in the summer of ‘69. Lots of lovely performances anchored by Jude Hill’s excellent debut.

  • God Help the Girl

    God Help the Girl

    One of the most cack-handed, fist-gnawingly awful films I’ve ever seen.  Weak direction and awful dialogue, paper thin characters with no agency but lots of toxicity, it does for the Glasgow indie scene what A Serbian Film did for Balkans tourism.  Still, at least Browning has a worse film than Sucker Punch on her CV…

  • Krampus



    Wonderfully twisted, clever, funny and tense family(ish) ho-ho-horror for the festive season.

  • Silent Night

    Silent Night


    Switches from Peter’s Friends posh comedy to Threads bleakness on the flip of a coin.  An impressive family affair, especially from Roman Griffin Davis.

  • Hawkeye



    Nicely blending the sensibilities of Fraction’s Hawkeye run with the MCU.  Perhaps slightly too many plots to juggle towards the end but a fun, Mission Impossible vibe to it.  More please.

  • The Last Duel

    The Last Duel


    Ridley does Rashomon, with a brutal look at male pride through the prism of medieval France.  Three excellent turns, particularly from Comer, and all slightly played differently depending on the version of the truth we see.  Unflinching, cold and strong.

  • Spencer



    A phenomenal performance by Stewart and standout direction by Larrain drag an otherwise paper thin film up.

  • The Beatles: Get Back

    The Beatles: Get Back


    Incredible archival restoration and a excavation of the dying days of the Beatles.