Nikki Baughan

Raging Grace walks its own line between traditional genre filmmaking and contemporary social commentary and, while more effective during its slow-burn first half, effectively draws on the systemic horrors of a traditionally white power structure which purports to help ’outsiders’ while keeping them firmly underfoot.

While that familiarity is Scream VI’s major strength, it has also become its fundamental flaw. The location may have changed, the kills may be increasingly inventive, but underneath all that window dressing it’s the same as it ever was.

Eisenberg impresses in a role which requires him to keep a great deal beneath the surface. But the screenplay locks up some elements of his character rather too tight and, as dramatic motivations for what follows, they are unpersuasive and somewhat cliched.

There are some fun moments in Sharper, not to mention its attractive production and costume design, and Moore is clearly having a blast with a character who is sexy and smart in equal measure. But with the story broken down into obvious individual character-focused jigsaw pieces, viewers won’t need many of their own wits about them to guess where this tale is headed.

While the film’s narrative may run a familiar path from conflict to resolution, Rotem’s light, authentic touch makes it an engaging journey.

This story of foolhardy youth and the hell it can unwittingly unleash is a staple of genre cinema, but first time directors Danny and Michael Philippou tell it well and there’s certainly plenty of atmosphere (and effects) to appeal to hardened horror fans.

Scanlen effectively embodies her character’s internal struggles, unable to vocalise her growing frustrations lest she forfeit her purity — which is seemingly her only value.

Rather than lean into the increasingly gothic elements of this spiralling yarn (which reach a fever pitch worthy of Poe’s own work) the film takes itself far too seriously as a character study of a tortured man.

Diem’s intimate access and sensitive approach, together with editor Swann Dubus’ keen eye for texture and detail, make for a compelling and eye-opening drama.

A mix of fly-on-the-wall material with archive footage and interviews, Maya And The Wave is a by-turns exhilarating and infuriating exploration of how, for a woman, talent is often not enough to cut through.

Nocebo combines traditional Filipino folklore with modern concerns about cultural exploitation, and while it is prone to moments of melodramatic excess is still another intriguing work from one of Ireland’s most interesting talents.

This …Matilda is not just a big movie about a little girl finding her voice, but about the need to speak up against injustice, wherever its found, and to find people who believe in you enough to lend their support.

Its impact comes not only from the real-life events it’s depicting, but also the way in which it frames this now-familiar tale; a triumph of human – and particularly female – will against adversity and a celebration of those who would seek a better life, despite the costs.

It’s a trip, and then some.

The film expertly blends satirical social commentary and disturbing horror tropes to shine a light on the appalling racial and economic divides that still shape the country 30 years after the end of apartheid.

Exceptional performances, particularly from Caleb Landry Jones in the lead, and a sensitive touch from director Justin Kurtzel can’t shake the unease of giving yet another cinematic spotlight to a real-life mass murderer.

Featuring superb turns from Vicky Krieps and the late Gaspard Ulliel - in his final role - as a couple facing the most difficult of choices, More Than Ever persuades, rather than forces, its audience to stare death in the face, and proves surprisingly life affirming in the process.

While the film is contemplative, intimate and visually arresting, its deliberately slow pace lessens its dramatic impact.

It is a fascinating, horrifying story and Klayman eschews any tricks or gimmicks — bar some lively collage animation — to allow this explosive narrative to evolve through the eye-opening experiences of those who lived it.

There are some tremendous misdirects, effective jump scares, and literal piles of gore. There just happens to be plenty of brains to go with all that blood.

Beautifully designed, carefully measured and expertly cut, The Outfit is a handsome debut from director Graham Moore.

Like her Lewis Carroll namesake, the protagonist of writer/director Krystin Ver Linden’s bold and enlightening feature debut hurtles down a rabbit hole — but the alternative reality in which she finds herself is certainly no fairy tale.

Probing issues of motherhood, adolescence and identity with a delicate dramatic touch while expertly harnessing some outre genre elements, Hatching is a bold, arresting feature debut from Finnish director Hanna Bergholm.

Exceptional near-future production design and a strong dual performance from Mahershala Ali as a man and his clone fuel Benjamin Cleary’s impressive, thoughtful sci-fi debut.

While Michael Pearce’s second feature may not deliver quite the same wallop as his debut feature Beast, it demonstrates the same mastery of filmmaking craft and another incredible performance from Riz Ahmed.

Tracey Deer’s feature debut Beans vibrates with ferocious anger and righteous pride.

An impressive filmmaking debut from actor-turned-director Rebecca Hall which largely avoids cliché or soapboxing about race, featuring two excellent performances from Tessa Thompson and Ruth Negga.

Co-written and directed with sensitivity and visual flair by Anne Zohra Berrached, Copilot puts an intimate spin on the devastating events of 9/11.