The new film from Ali Abassi is expertly crafted and a detailed deep dive into complex questions of the modern world, fronted by fantastic performances
Twenty years onward, Hideo Nakada’s iconic existential video horror remains just as powerful, substantive and terrifying as ever
A sluggish and derivative possession-horror that’s only amusing so as to think of better films it steals from which you could be watching instead.
The Runaways tells the story of three siblings from Whitby, on the run with two donkeys.
A Private War explores Marie Colvin’s career and personal life, with her words “I see it so you don’t have to” ringing in the audience’s ear.
Escape Room is a confused, poorly written mess of a horror film that’s also glorious to watch for its ridiculousness and bizarre imagination.
Carl Fitzgerald reviews a disappointing The Possession of Hannah Grace
A cohesive and well-paced ‘Nazi zombies’ movie, Overlord is a solid genre-mash up with impressive action sequences, and gruesome body-horror, writes Alfie Clark
Izzy Sharp finds aspects of Tom Beard’s Two For Joy compelling and heartfelt, yet ultimately unable to strike home with its depiction of the tensions within a modern British family
A round of short films courtesy of the Manchester Film Festival provide a heartfelt and hilarious look into extraordinary people and events in modern life
Nadine Labako has delivered an Oscar nominated gem of a film which holds all power to account with a deeply emotional story, writes Carl Fitzgerald
Stephen Merchant’s dramedy about a Norwich born WWE superstar succeeds through its wholesome heart and a fantastic lead performance from Florence Pugh
Cold Pursuit is a revenge thriller that proves nothing more than a particularly dull entry in a string of bad genre flicks
“This is a movie which demands to be seen on the big screen”
A terrible example of trying to have your own cake and eat it. Balancing an interrogative character piece alongside Clint Eastwood having two threesomes
This new indie slashfest, Hell Fest, proves entertaining and creative, but is held back by tedious leads, dull set pieces and predictable deaths.
Four women must take over a heist after their husbands die on the job, yet seemingly Widows still focuses on the men, inexplicably