2018
If you’re a fan or a newbie or just someone looking for a bloodbath of an action movie, move The Night Comes for Us to the very, very top of your list.
Stolen Daughters: Kidnapped By Boko Haram, directed and co-produced by Gemma Atwal, explores the history if abducted girls and the continued presence of Boko Haram in Nigeria.
What makes Nigerian Prince stand apart from the cavalcade of other crime thrillers cribbed straight out of the Guy Ritchie handbook is its Nigerian setting.
What They Had is an honest snapshot of a family during crisis, in all its inevitably chaotic shades – it’s exactly what you’d hope a movie about Alzheimer’s would be.
Two for Joy is desperate and demanding, but it offers something which is rarely allowed in films which depict poverty. – it offers hope.
London Fields feels like it’s trying to accomplish too much, and as a result, accomplishes very little.
Boy Erased is a sturdy drama with some touching moments and strong performances, enhanced by much-needed glimpses of dramatic sensitivity within the confines of a tough story.
Richard Todd’s Dying to Live is a sincere portrait of the state of Australian organ donation, a weirdly taboo topic with the highest of stakes.
Soul to Keep is a horror tale about sadistic ritualism that, whilst having its heart in the right place, struggles to break free from the shackles of genre conformity.
If you belong to nearly any demographic, Johnny English Strikes Again will serve as a colossal letdown, and leave you contemplating how Rowan Atkinson could enter such a slump.
If you have children who are itching for a cinema trip during the spooky season, there have been much worse offerings than Goosebumps 2 in the past.
Night School is unforgiveably bland. It’s difficult to care about anything that happens, because the jokes are so flat, and the characters so dull.
The Old Man and the Gun is a love letter to many things: the 1970s/early ’80s, the aging outlaw trope so often seen in Westerns, and to film itself.
The Doctor journeys across a dangerous landscape in Episode 2 of the new Doctor Who, saving humans and aliens as she goes.
The Kindergarten Teacher is expertly magnetic as a vessel for a cringe-worthy effect of its own making, and with a strong central performance by Maggie Gyllenhaal as well.