You’ll feel the constraints of the budget, but you’ll also feel a tiny pull on your heartstrings.

The Little Things fills its runtime with beautiful cinematography, some great performance work and a desire to subvert expectations, but all up it feels much like the justice achieved by these detectives - workable, but dissatisfying.

2067 is a bitter disappointment.

High Ground is a tense Australian western, that does a great job of engrossing you in a violent colonial story that needs telling.

The anti-Tenet, this plotless movie is aggressively dumb.

My Salinger Year makes you hate movies. Just remember - they’re not all like this.

The Dry isn’t changing the face of cinema - it’s doing what we’ve seen before, just really, really well. For fans of the genre, or even for fans of big budget cinema in general, this is a must see.

The Witches is a bit of a mess, but the bright spots are just enough to paper over the dull ones.

WW84 is pretty disappointing - a surface level plot, barely held together. For a character who was holding up the DCEU, one expected better. Instead, we’ll have to settle for yet another star turn from Pedro Pascal.

This is a worthy addition to the Christmas movie pantheon, but its ending rings hollow due to the subverted character arcs.

Let Him Go isn’t a film you’re likely to let go for quite some time. It stays with you long after you leave the cinema - that weirdly enjoyable, oddly engaging movie that dealt with grief, heartbreak, and loss, along with a healthy dose of gruff action and drama.

In the end, Fatman is a convoluted mess, and a disappointment in that it never reaches its true potential. At the same time, however, it would be a lie to say this wasn’t a fun and bonkers watch.

Summerland isn’t breaking any boundaries, but it is a movie you can sink into with ease.

Ammonite needed more to say, but what a beautiful way to have said what it did.