Elegance Bratton’s “The Inspection”
A low key but compelling, fresh and sincere take on the boot camp story telling the true life experience of a gay man hoping to turn his life around by joining the US Marines
Maya Duverdier & Amílie Van Elmbt’s “Dreaming Walls”
The passing of time and the ghosts of brick and mortar are explored in this wistful documentary on New York’s Chelsea Hotel
Luc & Jean-Pierre Dardenne’s “Tori and Lokita”
Engaging crime drama with captivating leads which rushes some of its most dramatic scenes and though sympathetic sometimes veers towards uncomfortable tropes
Lukas Dhont’s “Close”
Toxic masculinity poisons the well of childhood in this rich and moving melacholic masterpiece that is ultimately cathartic
Sarah Polley’s “Women Talking”
Thoughtful dialogue-led drama based on Miriam Toews’ epynonymous novel based on events that occurred in Bolivia is an intriguing parable on forgiveness, perspective and misogyny
Georgia Oakley’s “Blue Jean”
Solid directorial debut with compelling performances from Rosy McEwen, Kerrie Hayes and Lucy Halliday tells a story of love, discrimination, and integrity with conviction
Ben Steiner’s “Matriarch”
Hamfisted storytelling with terrible dialogue led by an awful performance redeemed only by another great turn by Kate Dickie as the titular matriarch in an insincere horror soap opera
Sara Sugarman’s “Save the Cinema”
Samantha Morton sparkles beyond the limits of this sugary, sentimental melodrama telling the true story of a hairdresser’s campaign to save her local cinema from property developers
Parker Finn’s “Smile”
Okay pulp horror fable that never reaches the heights of the films from which it borrows being let down by a series of baffling and unconvincing characters
Alice Diop’s “Saint Omer”
A contemplation of generational divides, motherhood and isolation is at the heart of this potent, slow-burning courtroom drama
Emilija Škarnulytė’s “Aphotic Zone”
Hauntingly beautiful natural undersea wonders marred by the inclusion of manmade elements in this short which misses its potential
Mary Nighy’s “Alice, Darling”
Anna Kendrick’s best performance since Up in the Air is an undertold story of coercive control and emotional abuse told well but without flourish
Darren Aronofsky’s “The Whale”
An emotional adaption of a problematic play with terrific performances and moments of greatness marred by tired tropes
William Brent Bell’s “Orphan: First Kill”
Surprisingly fun pulp prequel with a crackling script by David Coggeshall which has some surprises up its sleeve
John Patton Ford’s “Emily the Criminal”
Social commentary through crime thriller is engaging and reminiscent of Vondie Curtis-Hall’s “Gridlock'd” with a terrific performance from Aubrey Plaza
Sam Raimi’s “Doctor Strange in the Multiverse of Madness”
Fusion of some of the best of Raimi’s work from both his horror and superhero backlog, this won’t convince the uninitiated but will delight existing fans despite being under the shadow of “Everything Everywhere All at Once”
Hirokazu Koreeda’s “Broker”
Beautiful and complex yet tender story of family and human connections that touches on hefty concepts while being extremely engaging dented slightly by its denouement
Joel Crawford’s “Puss in Boots: The Last Wish”
Surprisingly mature story of mortality, family and ego supported by a powerhouse cast, electric visuals and good humour
Scott Mann’s “Fall”
Another film that would appropriately be called “Nope” delivers relentless, unforgiving vertigo inducing thrills in a survival thriller with heart
Park Chan-Wook’s “Decision to Leave”
Subtly but masterfully crafted visual storytelling in the same vein as Alfred Hitchcock’s “Vertigo” is a mystery of human emotion and motivation whose narrative burns a sinewy path from beginning to end