It has been an odd - though still enjoyable - year for films, with the impact of the SAG-AFTRA strikes still being felt, and the ongoing discord between cinema releases and streaming platforms.
On reflection, I was a little harsh last year when I said that it wasn't a memorable year for movies, because the 2024 OSCARs race was actually very strong; my favourite film last year was Saltburn, but 2023 also brought us Past Lives, Anatomy of a Fall, Corsage, How To Have Sex, and of course the battle between Barbie and Oppenheimer. 2024 didn't really have a cinematic event like Barbenheimer - as much as marketing companies tried to force one on us (Conclave and Wicked were combined into Cocked, the upcoming films Baby Girl and Nosferatu have been combined into Baberatu, and so on and so forth...). As it stands, I genuinely can't call how Awards Season 2025 is going to pan out. There isn't a clear front-runner. But, I suppose, that might make the awards ceremonies even more fun to watch.
In spite of my uncertainty about the cinematic year as a whole, I did go to the cinema many times in 2024 - multiple times a month, thanks to my Odeon Limitless membership - so there was definitely a lot of choice. There were a lot of films that I really liked, and a couple of clear stand-outs, particularly towards the start of the year. And perhaps my opinion will improve when I catch up on some of the films I missed, like Conclave and Gladiator 2.
I'll end the preamble there and go on to list the films I saw in cinemas this year, with a mini review of each of them, followed by a couple of streaming and TV highlights...
(A small spoiler warning is in force for all of the below!)
JANUARY 2024
Films: Priscilla, Poor Things, The Holdovers
I'll watch any film Sofia Coppola makes, and so I was happy to start the cinematic year with a trip to watch Priscilla. The film was beautiful to look at and the performances were decent, but I didn't feel like I truly got to know Priscilla as a person. I also found the editing to be a little monotonous and repetitive (bar the odd occasional jump cut), but I suppose that emphasised the feeling of boredom Priscilla felt while stuck inside Graceland? This film has really divided me, and I still don't quite know how to rate it, nearly 12 months on.
Poor Things was instantly iconic, and I loved watching Bella go on her visually-vibrant journey around the world. The fact that most of the male characters (and perhaps even the filmmaking approach) were sexually drawn to Bella when she had the mind of a toddler made me very uncomfortable - I guess the film was making a twisted point about male gaze and the feminine ideal? - and I was also feeling a bit restless by the final act, as it was a long film with quite a few chapters. Those two gripes aside, it was one of my films of the year. I even loved the end credits.
The Holdovers was a truly charming film with a commitment to the time period it presented, even down to the use of 1970s production company logos in the opening credits. It dipped its toe into melodrama a couple of times, and I wasn't keen on the way the film spent a lot of time introducing all the young male holdovers just to write them out of the film in the second act - but I bought the DVD and watched it again this Christmas with friends, and it still warmed my wintery heart. First-time actor Dominic Sessa was a revelation!
FEBRUARY 2024
Films: All Of Us Strangers, The Zone of Interest, Hamlet, Wicked Little Letters
The marketing campaign for All Of Us Strangers (featuring multiple social media videos of Andrew Scott and Paul Mescal being adorable together) really got me hyped for the film. It mostly met my expectations, as the performances were amazing; the whole film had me choked up, but one scene in particular between Andrew Scott and Jamie Bell broke me! I wasn't overly keen on the twist ending - there aren't many twist endings I have liked - but this is still a beautiful film. It's in my top five of the year.
The next film I saw in cinemas was my number one film of the year, although it certainly wasn't the most enjoyable. I have no notes for The Zone of Interest, as it was perfectly, terrifyingly done. Everything was designed to make you uncomfortable, from the droning, minimal score to the cold, observational filming style (the approach has been nicknamed 'Nazi Big Brother'). But nothing hit as hard as the sudden time jump to the present towards the end of the film, showing how we're still turning a blind eye and disconnecting ourselves from wartime atrocities in the 21st century. My legs hadn't ached from tension in a cinema that much since I'd watched Titane!
I was lucky enough to watch Hamlet at a special cast and crew screening (I was invited by the film's DOP, my good friend and collaborator Neil Oseman), and it was one of my favourite filmic experiences of the year because I got to meet Sir Ian McKellen!! The film itself was nicely made with a great setting, and obviously Neil did a great job of the cinematography. I found it a little hard to suspend my disbelief and accept Sir Ian in the role of a teenager, even in a theatrical piece, but that didn't ruin my enjoyment of the evening.
Wicked Little Letters was an absolute joy. I expected a fun, light film and a great night at the cinema, which it delivered, but I also felt that the film went the extra mile in terms of delivering attractive cinematography and many great performances. Olivia Colman never disappoints, does she? And kudos to Joanna Scanlan for nearly stealing the show in her egg-loving supporting role!
MARCH 2024
Films: Dune Part Two, Lisa Frankenstein, Drive-Away Dolls, Origin
The first Villeneuve Dune film, although beautifully made, was always going to be a hard sell for me because I'm not the biggest fan of sci-fi films. As such, I didn't totally love the sequel either, although I enjoyed the battle scenes and the villainous Harkonnens were a highlight, particularly an underused Austin Butler and the creepy, effective use of infrared cinematography during some scenes. I hear that the upcoming Dune: Messiah is going to highlight the dark side of religion and saviour figures, so that should be interesting.
Directorial debuts don't tend to be flawless, and Zelda Williams' Lisa Frankenstein had a few cracks on show (the ending scene felt oddly tagged-on), but I had a wonderful time watching it! The 80s setting was incredibly fun and I still can't get the visuals out of my head, particularly the costumes; I even included a few of the outfits in a character moodboard for my latest short film! Yes, Zelda Williams is the daughter of the much-missed Robin Williams, which is another reason my friends and I were keen to watch the film.
The comedic tone of Drive-Away Dolls somehow made it feel like an appropriate film to follow Lisa Frankenstein, and I rated them both the same on Letterboxd, although I definitely preferred Zelda Williams' offering. There is an argument that Driveaway Dolls deserves to exist as a 'stoner film' for LGBTQIA+ audiences, which is a very fair point, but that genre of film feels very dated now and a lot of the OTT sleazy jokes just didn't land for me.
It was hard to find a cinema that was playing Origin, but I was determined to support Ava DuVernay's latest offering, so Tommy Draper (my regular co-writer and cinema buddy) and I made an effort to track it down. The film wasn't perfect - I wasn't sure about the interweaving of the author's personal story of grief with a wider exploration of the Caste system across the world - but the performances were good and there were some truly emotive moments. I learnt a lot and would recommend the film to people as an important watch.
APRIL 2024
Films: Monkey Man, Back To Black, Abigail
As with Zelda Williams' debut, Dev Patel's first film as a director wasn't perfect (there was a fight scene towards the middle which didn't impact the overall story at all), but it's definitely in my top ten films of the years. The cinematography was lush, the fantasy elements were grounded in human memories, and the fight choreography got better and better as the film went on. When one group of people took to battle in a glorious mix of slow-motion and heavy metal, I literally cheered.
Back To Black was a decent film, nothing particularly wrong with it - however, having an awareness of Amy Winehouse's story during her lifetime, and also having seen Asif Kapadia's documentary Amy (which certainly didn't hold its punches), Sam Taylor-Johnson's take on the singer felt a little bit too tame and safe by comparison.
During a particularly busy week, I decided to take a break and decompress with a film that wasn't too heavy - and so I chose to see Abigail. I don't always choose to see horror films in cinemas, but I've been a fan of vampire films since my gothy teenage years, and I don't find them too scary - and the premise for this seemed really fun. Abigail brought a few laughs, but I don't feel that it quite found the balance between gory terror and silly humour. The ending also felt a little on-the-nose for me.
MAY 2024
Films: Challengers, Love Lies Bleeding, The Fall Guy, Furiosa
There is a raw quality to Luca Gaudagnino's editing and shot choices that almost feels like we're watching a rough assembly of a film; it never quite sits right with me, and yet I always want to see more of his work (I've already booked to see his next film in January!). So Challengers wasn't exactly my favourite film of the year - the slow-motion scene felt a bit like an afterthought, and the loud, regular use of the score felt like overkill to me - but it was worth watching for the ending scene alone; a visceral frenzy of a montage which included every possible camera angle!
Love Lies Bleeding was another film that I was really hyped up for in advance, and that anticipation only grew when the release was delayed. Perhaps I built it up too much in my mind, as the film didn't quite meet my high expectations (the magical realist scenes didn't work for me, which is rare!), but that doesn't mean I didn't really like the film. I need to give it another watch sometime soon, as well as Rose Glass' first film, Saint Maud.
In a case of brilliant marketing, I booked to see The Fall Guy because I was so taken by its bold and hilarious trailer. I'm so glad I gave the film a chance, because if we're going off enjoyment factor alone, this was my film of the year! The 'set life' filmmaking humour struck a chord with me, of course, and I was laughing through most of the film. My only gripe is the scene where Emily Blunt's character got her first ever directing gig, and requested multiple takes purely to humiliate her ex boyfriend, while telling all the crew about their breakup (women have an unfairly tough job getting trusted with features as it is, and you can only imagine how execs would react if we aired our lovelife problems on set... sad, but true!). That aside, I loved this film - and looking at the reactions to one of my posts on Threads, it's clear a lot of people felt the same. It's a real shame that it didn't do better at the box office.
Furiosa was an exciting watch, although nothing could quite match the epic feel of Fury Road's set pieces (particularly that sand storm scene - wow!). And I didn't quite feel enough of a connection to the characters and their relationship with one another, so certain death scenes lost emotional impact as a result. But I enjoyed the film, and I really like seeing Anya Taylor-Joy in lead roles, particularly after the excellent limited series The Queen's Gambit.
JUNE 2024
Films: Hoard, The Beast
I'm always game for supporting first-time British directors, particularly women, and I've heard a lot of praise for Luna Carmoon, so Tommy and I tracked down Hoard at a local independent cinema. My tolerance for gross scenes is very low, so this film made me very squeamish and I possibly didn't enjoy it as much as others did, but I only wish good things for the team behind the film. I'm sure they'll get a recognition or two during awards season.
When I watched The Beast, it was a memorable experience because it was my first time viewing a film in the National Film and Television School's in-house cinema (when I was studying there as part of the Prime Video Directors Workshop)! The film itself was gloriously mind-bending and time-hopping, with a particularly lush-looking French segment. There was one scene with a futuristic doll which seemed to descend into farce, when I don't think it was supposed to be comical, but my main issue was the conundrum posed by the film's central plot: if (spoiler) the love of your life was reincarnated again and again, throughout time, but there was a 50% chance he'd kill you, surely a sensible person would keep their distance?! I also lost my respect for the lead character when she screamed that much at a pigeon.
JULY 2024
Films: Kinds of Kindness, MaXXXine
Barely six months after the release of Poor Things, Yorgos Lanthimos and his regular actors were back with Kinds of Kindness; and as a result, my expectations were pretty high. I didn't enjoy the film as much as Yorgos' previous three films, because certain sections were better than others, there weren't really any characters nice enough to root for, the film felt a bit too long and slow, and Hunter Schafer was very much underused! But Yorgos at his worst is better than many filmmakers at their best, so I'm still glad I saw it. Jesse Plemons was particularly great in the film.
I didn't know how to feel when I watched MaXXXine - it took me ages to decide what to rate it on Letterboxd. The setting was vibrant and rich with 80s references, and there were some enjoyable scenes set on a Hollywood lot, but there were a lot of clunky elements too; from Kevin Bacon's OTT villain to Lily Collins' horrendous accent, and a couple of idiotic cops who are very suddenly disposed with (partly offscreen). I was disappointed that (spoiler) the Night Stalker wasn't the true 'big bad' of the film, and also that Maxine's inner turmoil at killing Pearl didn't reach a point of catharsis (or ultimately have any impact on the story)… but as I said, the film looked great and Mia Goth always delivers a brilliant performance, so I'm still making my mind up about how much I liked (or disliked) this film!
AUGUST 2024
Films: The Conversation, Alien Romulus
Way back when I first attended film school, in one of the very first lectures, we watched the opening scene of The Conversation. We watched it multiple times, I think to appreciate the sound design, but the lecturers put the scene back to the start every time, and I was always frustrated that we didn't get to watch more of the film, as it looked so good. Well, this year I finally got to watch it in full, because it was back in cinemas for its 50th anniversary. Bar one slightly unusual dream scene, the film was definitely worth the wait - it's pretty much a masterpiece!
Alien: Romulus, on the other hand, was not my cup of tea - but again, I'm not the biggest sci-fi fan and I only watched this film as part of a friend's birthday celebrations, so you can take my review with a pinch of salt. I thought that the film was far too reliant on fan nostalgia, with many obvious references to earlier films in the Alien franchise, which felt jarring and a bit cheap every single time. But it's great to see David Jonsson getting work, as I loved Rye Lane last year.
SEPTEMBER 2024
Films: Sing Sing, Starve Acre, Beetlejuice Beetlejuice, The Substance, The Outrun
September was stacked with cinema trips, so I'll try and keep these reviews as brief as possible!
Sing Sing was a film with a lot of heart, and I loved the central message of how anyone can use art to channel emotions in a healthy way. I felt like the plot was a little bit thin and predictable, as the film often relied on improvisation and authentic conversations from people who were pretty much non-actors, and I was disappointed that we didn't see more of the theatre show that the film was building up to (this was very much a case of 'tell, don't show', which I found frustrating), but I still really recommend this film - the performances were wonderful and the message is ultimately so uplifting.
Starve Acre had a brilliant cast and atmospheric, 70s-meets-gothic setting with plenty of slow-burn ambience, so I liked it a lot. I just wasn't totally sold on the barmy ending and how quickly one character descended into compliant madness without enough clear motivation. The film also briefly feels like a ghost story, then puts this element to one side in order to focus on folk horror. I'm tempted to read the book some time, as I'm sure that will fill in some of the gaps.
My fiancé and I were very excited to see Beetlejuice Beetlejuice, Tim Burton's long-awaited sequel; I think we would've enjoyed this film regardless of how it played out, as it was just so nice to see the original actors back in their old roles. Yes, there's a plotline or two that could've been removed without impacting the overall story, and I would've liked even more Catherine O'Hara, but I don't think I stopped smiling all the way through this film.
I knew that The Substance would be a gory, flinch-worthy body-horror, but I never expected the emotional impact it would have on me. Coralie Fargeat's film wore its influences on its sleeve (mostly successfully), and somehow this mix of references resulted in a film that so perfectly captured the female anxiety of ageing, and how the media and societal expectations can exacerbate these feelings. I laughed, I nearly cried, I related hard, and so this film is definitely in my top five of the year. Please give Demi Moore an OSCAR! (Also, I've just noticed that this was the fourth film I saw this year that starred Margaret Qualley! She's had a good 12 months.)
The Substance was a hard act to follow, and perhaps that impacted my enjoyment of The Outrun - which isn't fair, as it's a much smaller film, and it has been great to see how successful it's been in spite of the lower budget. I did love the rural setting and feeling of local community (we need more drama films set outside of cities!), and I thought that the drinking scenes were well-handled and evocative of an alcohol-enthused experience. I just felt that the film was a little too long, and a lot could've been removed without impacting the overall plot (for example, I found all the interspersed science facts fascinating, but I would've enjoyed reading about them in my own time, rather than needing to hear a voiceover talking about them in this particular film).
OCTOBER 2024
Films: Megalopolis, Joker 2
October was, for me, the most disappointing month in cinemas this year, but I was very curious to see both of the films I watched, and they were certainly memorable!
Megalopolis was... how do I describe it? Well, it had a lead character recite Shakespeare early on, for quite some time, for no apparent reason; there were CGI elements like crumbling statues and a desk sinking into sand which had nothing to do with the main (inconsistent) fantasy elements in the film; Jon Voight got more 'excited' than I ever wanted to see on film; Dustin Hoffman's character announced that he was going to go and deal with a character, then was killed mostly off screen and was never referred to again... I could go on, but the main problems with the film are that it's over-long, slow, and very melodramatic (dare I say cheesy?). But I'm also very glad it exists, not just because my friends and I have been quoting Adam Driver's "in da clubbbb" line ever since; this is the film that Francis Ford Coppola really wanted to make, he's wanted to make it all his life, and he got to self-fund it and make it exactly as he imagined without studio notes, for better or for worse. Which filmmaker alive wouldn't wish the same for themselves? I'm genuinely happy for him.
I was one of the few people who didn't adore the original Joker; I felt it was a bit tactless at times, a bit unsure of the genre it wanted to be, overly-reliant on references to other films, and very much driven by a brilliant central performance and great score rather than a solid script. So I was curious to see if my doubts would be proven wrong or right by the sequel, Joker: Folie á Deux, and that's why I went to watch it. Well, I didn't hate it (I didn't hate the original either), but the lack of taste was very much present again for me - particularly the lingering shot of the yellow pages needed to elevate Leigh Gill's character when he gives a statement in court. The script was also far too minimal this time around, because the songs stopped the story rather than moving it forward, and a lot of the main plot revolved around people talking about the events of the first film. But the technical team did a great job, as the cinematography was gorgeous (even if was at least 50% shots of people smoking...), and I liked the ballsy ending.
NOVEMBER 2024
Films: Anora, Heretic, Paddington In Peru
Anora came on my radar due to its big win at Cannes this year, so I decided to check it out. I adored the start, with the visceral but perspective-driven cinematography and blaring, somewhat comical soundtrack. I genuinely laughed out loud a few times. The film became less of a fun watch in the second half (but I like that my lessening enjoyment of the film echoed the experience of the lead character, as her 'fantasy bubble' had been burst), the last scene left me a little cold, and I didn't personally feel that the film needed to shift so much focus onto Yura Borisov's character - but that's only testament to how fantastic I thought Mikey Madison was in the film, and how happy I was to watch her in the lead role at all times.
Whenever I see A24's name on a trailer, I'm curious to check out a film - and when the trailer promises Hugh Grant in a creepy, villainous role, that curiosity grows tenfold! So of course I had to watch Heretic. I will say that I was a little disappointed by the film, as I'd expected the main setting to be a multi-layered, maze-like house with lots of obstacles for our lead characters to overcome as they figured out how to leave. Instead, most of the action took place in a single-room basement, with what seemed to be a brief venture into the fantastical, and I felt as though the pace of the film dropped once we were in that space. But I really enjoyed the first act of the film and all the musings on theology (and how the evolution of religion is comparable to Monopoly!). Hugh Grant was, of course, brilliant as the antagonist.
My fiancé and I went to see Paddington in Peru during a challenging week when we needed a silly pick-me-up. Like everyone else, we really enjoyed the first two Paddington films - plus I will literally see anything with Ben Whishaw in it. The problem is that the first two films are so good that the latest offering looked a little worse by comparison; putting Paddington back into his natural habitat also removed the opportunity for the 'fish out of water' antics that made the other films so hilarious. But it was still fun to watch, with Antonio Banderas, Hugh Bonneville, and - of course - Olivia Colman stealing the show.
DECEMBER 2024
Films: Wicked, The War Of The Rohirrim
Wicked was the biggest film of the year; I couldn't turn on my phone without seeing a trailer or a poster for the film, so I decided to go and see what the hype was about. Now, I'm not the biggest fan of musicals (I don't mind them on stage), so it took me a while to settle into the film, and I felt my legs tensing up again in the last act. But my enjoyment factor went up massively the moment Cynthia Erivo appeared on screen. She was just phenomenal in the role of Elphaba, and that soaring, powerful rendition of Defying Gravity in the finale was goosebump-inducing!
And finally, the last cinema trip - and my most anticipated film - of the year: The Lord of the Rings: The War of the Rohirrim. I am a Tolkein nut, so of course I was aware of this film for years before it came out, and I was so excited to see Middle Earth on the big screen again (particularly as it was December, and all the previous LOTR films were Christmas releases). I was a bit unsure about the changes to the story, like moving the attention to Helm Hammerhand's daughter, although I appreciated how her character wasn't an unrealistic, superhuman warrior like in the recent live-action adaptation of Disney's Mulan, and her choice of final battle attire was pretty badass (I didn't like her other costumes as much). There were a couple of clunky plot elements, and forced references to the LOTR trilogy, particularly at the end - but of course I loved the voice cameos. And I adored all the parts that felt true to Tolkein's original story, such as the moment when Helm Hammerhand earns his nickname, and his mythical final scenes in the wintery Hornburg.
THE ONES THAT GOT AWAY
With so many cinema trips this year, it's hard to believe that I missed any of the films I wanted to see, but I did - mostly because certain films were on limited release, and didn't screen near me (or I couldn't afford to see them if they didn't screen at Odeon, where I pay monthly for unlimited screenings to help make the most of my limited finances). For this reason, I missed Bad Behaviour, Werner Herzog: Radical Dreamer, Andrea Arnold's Bird, Nightbitch, and The Promised Land (although I caught the latter on BBC iPlayer later in the year).
There were also times where I was invited to the cinema, but I was too busy with client work or prep for my latest short film, which is why I missed Boy Kills World, Don't Look Now (a special local screening in honour of Donald Sutherland's passing), Alice Lowe's Timestalker (I really wanted to see that!), Gladiator II, and Civil War - although I was a little cautious to see another Alex Garland film with Men still sitting in my recent memory, as I truly disliked that film. I have heard good things about Civil War so I might give it a go some time.
I also tried and failed multiple times to see The Dead Don't Hurt in cinemas (which I was keen to see due to my love of Viggo Mortensen). First, I was too busy with work to go and see it; then I was travelling and didn't quite arrive in time to make a screening; the third time I tried to see it, I became too unwell! I finally watched the film on Paramount Plus last month.
BEST OF THE REST
There were some brilliant new films that I first saw on home release this year, so I thought I'd give those a quick shout out too. Through Netflix, I saw Maestro (I feel that Bradley Cooper is still finding his feet as a director, but he's going to be great, as there were some inspired choices on show in Maestro, plus the film looked beautiful), and Hit Man (which made a for fun movie night with my fiancé Edward and some pizza - as did Damsel, if I'm being honest!).
I watched Immaculate and A Quiet: Place Day One on DVD, at another movie night with Tommy Draper; both films were good, but I particularly enjoyed the extremity and visuals of Immaculate. And I need to give a special nod to Wallace & Gromit: Vengeance Most Fowl, which I watched on BBC iPlayer on Boxing Day with my family, 29 years after we first watched The Wrong Trousers together!
I also saw a lot of wonderful films on Mubi, but the greatest of these was Perfect Days, a truly life-affirming film which I gave the full five stars to; if it hadn't technically been a 2023 release, it would've been my film of the year!!
This year's television started on a low, with The Winter King on ITV, and ended on a high with the fun thrills of Black Doves on Netflix. I won't list all the programmes I saw between those two shows, as we'll be here all day, but here are a few highlights:
I was asked to watch Baby Reindeer ahead of my NFTS workshop with director Weronika Tofilska (which was brilliant), and I'm so glad I was prompted to watch the show, as it was incredible - particularly one shockingly honest and raw episode. I am rooting for Baby Reindeer to pick up every possible trophy it can during awards season, particularly for its cast. Another Netflix highlight was Ripley, shot in stunning black and white (most of the time!) and with a gripping approach to showing post-murder clean-ups in real time that had me on the edge of my seat. And of course, this year's Bridgerton series was a lot of fun!
As a fantasy fan, I was happy to see the return of both Rings of Power and House of the Dragon; both series were a little mixed for me this year, but I happily binged them both. Other series were a little more disappointing, such as 3 Body Problem and the finale of The Umbrella Academy, but I was still very glad to watch both (the final series of The Great, however, was as brilliant as the rest of it, even with a few plotlines left unanswered). One of the best geeky shows of the year was Batman: Caped Crusader on Amazon Prime, which harked back to the neo-noir elegance of the nineties animated series, but blended with some of the modern grit of Matt Reeves' The Batman (Reeves was an executive producer on the show). One spooky episode in particular was a real gothic treat.
Because Edward and I got a TV license again in late 2023, for the first time in a decade, we were able to enjoy a few live TV highlights this year - so our viewing schedule very much revolved around things like Glastonbury and this year's Olympics (which Edward watched religiously!) - and of course, the return of Gladiators! We also caught up on a few older BBC programmes I'd missed, including classic comedies like The Fast Show (I became so invested in Ted and Ralph - I really wanted them to end up together!), and more recent series like Juice and Boarders, both of which I'd highly recommend - not just because I was director's shadow on series 2 of Boarders, shot earlier this year!
But the best thing about having my TV license back was that I was finally able to see Killing Eve (we ended up watching every series, because it was great!) and Normal People. I now know why that show propelled Paul Mescal and Daisy Edgar-Jones into (deserved) stardom. It is such an honest and relatable series about connection - not just romantic and physical connection, but about what it means to be human, living within the everyday, and how you feel within your little personal part of the world. The final episode was a gut punch.
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So there we have it! A fairly mixed but chock-a-block year for film and TV, with my favourite films being The Zone of Interest, Poor Things, The Substance, All Of Us Strangers and The Fall Guy - all for very different reasons - with a special nod to 2023's Perfect Days.
I am, however, very much looking forward to all the new films that are coming out in 2025. I'm feeling very positive about what the next few months have to offer, and I have a couple of tickets booked already. My first cinema trip of the new year will be to see Robert Egger's take on Nosferatu, which I can't wait to see!
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