This is round two of the Review Round-up for 2025! This one will be dedicated to all the new film releases that I have missed reviewing throughout the year. It has been yet another brilliant year for film, with some absolute all-timers unfolding in front of our very eyes. We’ve had some instant classics from well-known directors, like Paul Thomas Anderson’s One Battle After Another, spectacular horror outings like Sinners and Weapons. But I haven’t quite had the chance to review all of them. So here it is, some quickfire capsule reviews for some 2025 releases. I will waste no more time because this is a hefty list!

Companion (Directed by Drew Hancock)

After excelling in Heretic, Sophie Thatcher delivered a one-two horror/thriller punch in the space of a few months, with two very different experiences. I will not spoil this film, unlike those dead annoying trailers, but this feels very much in the vein of Get Out, in the sense of a sort of puzzle/thriller. It is excellent fun, full of twists and turns and great performances. Its themes are relatively on the nose, of course to do with the control of women and relationship power dynamics, but its silly and tongue-in-cheek enough that it succeeds in its venture. Score: 8/10

Heart Eyes (Directed by Josh Ruben)

You know exactly what you’re getting when you see the trailer for this film. It’s a schlocky slasher that is not taking itself too seriously, and if that is something you desire, then power to you. I will say, there aren’t many Valentine’s Day horror films that come to mind, so if you want something silly for this year, even just as background noise, this will suffice as a fun time. The script is rough, the performances are about as bad, but the kills are satisfying, and it is paced well enough that you won’t be bored. Score: 6/10

Black Bag (Directed by Steven Soderbergh)

Michael Fassbender and Cate Blanchett both shine in this spy thriller, as a couple of legendary agents who find themself in a testing moment of their careers and relationship. With Cate Blanchett’s character being accused of betraying her country, Fassbender is left to question his marriage, but also debate the world of work around him. This is a relatively simplistic but very effective thriller, with a really tight script that lets the story flow incredibly well. It can be a bit uninteresting at times and sometimes feels like it’s treading the same ground (which isn’t the best for a 94-minute film). However, the bigger scenes, like the dinner party shown in all the trailers, are a blast, and it becomes this slickly-crafted whodunnit that is just damn cool, and a fun watch. Score: 7/10

Bridget Jones: Mad About the Boy (Directed by Michael Morris)

Now, as I’m sure you are aware, I am demonstrably not a 40-year-old woman, so this does not quite fit my demographic. The Bridget Jones series has never appealed to me much, but this one, for some reason, managed to grab my attention. Aside from its strange grasps at humour and a strange dynamic between Bridget and a strapping young man (holder of my award for worst character name of the year: Roxby) that she falls for, this is actually a really tender and touching story about grief and growing older without the one you love. If you do fit into that aforementioned demographic, I’m sure this will be a riot for you. Score: 7/10

Marching Powder (Directed by Nick Love)

There is a reason I did not do a full review for this one: because I knew it would put me in a foul mood, somehow fouler than having to sit through this. This film is a degree of embarrassment to all those involved that I cannot help but applaud. I am sure Danny Dyer is a nice enough bloke, but what on earth is he doing with this? Surely he would know better than to go through with this diabolical Nick Love script, which is absent of a single joke that will force a smile out of you. Promoting football fighting culture and drug culture, romanticising it for all the pissheads that lap it up on a consistent basis, is not cool, it is childish and stupid. This is the type of film you’d watch at a sleepover as a teenager because it drops the c-bomb in every sentence. An awful, awful film, please do not give it any attention. Score: 1/10

Last Breath (Directed by Alex Parkinson)

Some films do not need to be made into full-length feature films, and this is one of them. It is not that this is a bad film; it’s fine. There are some solid performances from the main trio of Finn Cole, Woody Harrelson, and Simu Liu, and their characters are rounded nicely with a bit of depth to keep you interested. But the concept of one of them getting trapped deep in the ocean and the other two trying to save him wears off its novelty quickly. Its pacing is not strong enough, and this film ends up feeling much longer than its 93-minute runtime. Still, if you want to feel a bit of tension and see what is a remarkable, true story come to life in this way, it is decent enough that I would not deter you. Score: 6/10

Final Destination Bloodlines (Directed by Adam B. Stein and Zach Lipovsky)

Once you have seen one Final Destination film, you have seen them all. There is no particularly deep story, just people getting killed in gruesome ways, except here, this curse that would be just on one is now coming for an entire bloodline to wipe them out. The acting is fine, the script is similar, but the glory of some of the kills and the effects to do so look great. I do not love this franchise even slightly, but this one is certainly good fun, in its own sick and twisted sort of way. Score: 7/10

Hallow Road (Directed by Babak Anvari)

I have heard nobody talk about this, and this was a sleeper hit for me as one of my favourites of the year. Starring Rosamund Pike and Matthew Rhys, it follows the two driving to their daughter (Megan McDonell), who has just been involved in a car accident. 90% of the film is just them in the car talking to their distressed daughter on the phone, but it is unbelievable how well that works. The tension is dripping naturally from this, and it will get your hands as sweaty as the likes of Uncut Gems or Boiling Point. Conversations feel so real, and that is thanks to all the exceptional performances and the brilliantly sharp script. I will not spoil it, but this is easily the hidden gem of the year for me, and I encourage you to seek it out if you love a good thrill. Score: 9/10

Echo Valley (Directed by Michael Pearce)

This is a relatively forgettable thriller starring Julianne Moore and Sydney Sweeney as a mother and daughter. Playing with themes of motherhood, particularly that of ‘how far would you go to protect your child?’, it sees them have a strained relationship that gets pushed to the limits when she turns up at her mother’s door covered in blood and claiming to have killed her boyfriend in a tussle. Julianne Moore is pretty good in it, Sydney Sweeney is perhaps not as wooden as usual, but some of the supporting cast do a good job, particularly Fiona Shaw and Domhnall Gleeson, but that is the only real praise that jumps out at me. Its themes are on the nose, and the pacing is rough, feeling like it takes ages for anything really interesting to come about. This is one of those films that I looked through my diary and completely forgot this film existed, and I would not say that is a compliment. It definitely fits into that category of mediocrity that is fairly decent entertainment but you will probably never watch it again. Score: 6/10

Hot Milk (Directed by Rebecca Lenkiewicz)

If you ever fancied a fairly mediocre and forgettable Fiona Shaw double-bill, then look no further than Echo Valley and Hot Milk. Starring Emma Mackey and Fiona Shaw as another mother-daughter pairing, it plays out as more of a coming-of-age story for Emma Mackey’s character. Struggling with her mother’s growing sickness and her insane ideas to try and treat it, she finds distraction in the Spanish seaside town they have come to reside in. Having to look after her mother all her life has hampered her social skills and any real life experience at all, so this is all about her finding love, freedom, and some semblance of self. Whilst its core writing is strong, it can get deathly boring due to its awful pacing, and some of the turns the story takes are a bit groan-worthy. This is rather experimental and at times very interesting, but it is ultimately a bit forgettable, and it is no wonder I have heard nobody talk about it. Score: 6/10

War of the Worlds (Directed by Rich Lee)

No doubt, you will have heard about this film. As terrible as this is, you simply cannot have a bad time watching this, and I would almost encourage you to do so. This falls on the other side of the diabolical film spectrum to Marching Powder, which sees this film go beyond the unwatchable cringefest to being one of the funniest films you will ever watch. Ice Cube is unintentionally funny with every single line delivery, the effects look like they spent about £5 a shot on them, and the amount of reused shots and sounds is hilarious. If you do not know anything about this, then do yourself a favour and look it up because it will make your day. Never, whilst doing this website, have I found a better film to endorse getting drunk with your mates over, watching this unintentional comedy masterpiece. It still gets the worst score I can give, but I love it like the absolute trash it is. Score: 1/10

Freakier Friday (Directed by Nisha Ganatra)

A Disney legacy sequel is something that may send shivers up people’s spines, particularly a live-action one that basically belongs on Disney Channel. The original Freaky Friday is actually pretty good, particularly because Jamie Lee Curtis is just untouchable. But hers and Lindsay Lohan’s dynamic was always very central to that film’s success. With its sequel, that is still present all these years later, and a lot of the tenderness of that story, found amongst typical Disney comedy, is still there too. However, this film’s first half hour is awful and really puts a bad taste in the mouth, but it somehow manages to swill out by the end. The comedy is dreadful in that opening, full of social media references that would probably even make kids cringe. But thankfully, it does find its heart and soul back after that rough opening and turns into a sweet story that is reminiscent of the original and does not tarnish it. Score: 6/10

The Life of Chuck (Directed by Mike Flanagan)

I love a lot of Mike Flanagan’s horror work, so this intrigued me when I heard he was helming it. Starring Tom Hiddleston as Chuck, this is a rather philosophical story about the self and how important each and every person is, and I think it carries that sentiment very well through its writing. The film begins really slowly and quite confusingly with some awful dialogue, but all of that becomes recontextualised throughout the film, and some of its later reveals. It is certainly not a film everybody will enjoy, because it is very insistent upon itself and fails to validate its preachy self-confidence overall. But I do think this is an interesting film that will probably age well and benefit from a rewatch. Score: 7/10

Nobody 2 (Directed Timo Tjahjanto)

As John Wick clones go, the first Nobody was very solid and captured that thrilling action and tongue-in-cheek humour mixture really well. This sequel is a lot less memorable, though, and it feels devoid of any sort of substance. Bob Odenkirk’s character is obsessed with fighting people, even when he really does not need to, and at the risk of putting his family in danger. It is incredibly daft throughout, and though sometimes that can be a good thing, it gets a bit too much towards the end, spiralling into madness that would make some of the John Wick set-pieces look realistic. It is not a bad film and will be a fair enough fix for action fans, but do not expect it to live long in the memory. Score: 6/10

I Swear (Directed by Kirk Jones)

Though a lot of its humour hinges purely on its lead shouting random things inappropriately, what else would you expect from a film about a man with Tourette’s? This is a very heart-warming true story about the struggles of living with the condition, but also the beauty and sense of self that comes with it. Its characters are wonderfully written, incredibly portrayed, and it is consistently entertaining and funny throughout. Its balance of tone is perhaps the most impressive thing about it, shouting ‘spunk for milk’ one second and having an incredibly tender moment the next without tonal whiplash. That comes down to the strong writing and performances, and that stops this from being just another ‘based on true story’ borefest that gets lost to mediocrity. It might over-egg the sentiment sometimes, but its heart is definitely in the right place. Score: 8/10

KPop Demon Hunters (Directed by Chris Appelhans and Maggie Kang)

This one took me a long time to get around to, but even now, its popularity is through the roof. With its chart-topping songs and characters that kids are just enamoured by, this has become quite a phenomenon. That popularity is well-placed because this is a very solid film that works well in just about every aspect. The animation looks fantastic, the songs are catchy and fun, and the core sentiment and writing are interesting enough to care about it. Whilst I do not think it does anything stellar, I am simply not the target audience, and if kids are blown away by it, then who am I to spoil the fun? It is at least something parents can enjoy too, even if that enjoyment is diminished within a few days due to their kids’ singing the songs to death. Score: 7/10

Good Boy (Directed by Ben Leonberg)

It is a good job that Indy the Dog is as good a boy as he is in this, because otherwise the film would simply have no leg to stand on. With a rather banal and dire setup, it is very clear that this is more of an experimental piece, trying to get the best performance out of a dog possible. They probably do succeed in that, and it definitely makes for entertaining viewing as a result. It is just a shame that everything surrounding that performance is so basic and bare bones that it could not have been a bit more memorable. I also think it is silly that Indy got a best actor award in a category with some fantastic, actual human performances, but that is another matter. This is a fine enough film, and it is thankfully very short, but make sure you know what you are getting into. Score: 6/10

A House of Dynamite (Directed by Kathryn Bigelow)

From what I have seen, I may be one of the only people on the internet who likes this film. I can understand the criticisms, and perhaps it is a bit samey and basic. But I found this thrilling and all around interesting every single minute. Centering around a nuclear missile being fired at the US, the government must find out who did it and create a plan of action. Showing us three different perspectives of the ordeal, it was so intriguing to see the personal stories and how they respond to the impending doom. Are they astute and confident, much like Idris Elba’s president character? Or are they delirious and quivering in fear, hopeless of finding any sort of solution? I found it a very interesting examination of a frankly quite real and scary situation, and even if it did not work for others, it may work for you as it did me. Score: 8/10

Frankenstein (Directed by Guillermo Del Toro)

Though many may suggest it to be an unfaithful adaptation of Mary Shelley’s iconic novel, that matters very little when the result is a film with so much style, thanks to Del Toro. Known for his wondrous worlds and monstrous figures, what better story for him to put his own spin on? With some incredible-looking sets, artificial and practical, as well as some fantastic costume design and makeup for The Monster, the atmosphere is on point, as you would expect from Del Toro’s repertoire. The writing is rather on the nose, with some groan-worthy dialogue that very explicitly lays out the themes of the film, but when you have the excellent performances of Oscar Isaac as Frankenstein and Jacob Elordi as The Monster, it gets away with it. Elordi in particular offers such a commanding performance, and I am very pleased he has been nominated for the Oscar. Though not a massively special film in the grand scheme of things, it is thoroughly entertaining and a very well-made film. Score: 8/10

Shelby Oaks (Directed by Chris Stuckmann)

Having essentially got into film criticism in part due to Chris Stuckmann’s reviews, I was incredibly intrigued and excited to see what he could do when it comes to directing. After an exceptional marketing campaign, with cryptic and eerie social media posts littered around, Shelby Oaks showed great promise and a clear vision for what horror should be like. Its horror set-piece moments and its overall creepiness are mostly very well executed. There are still the classic, tropey jumpscares, but some sequences rely purely on atmosphere, of which this film is dripping. Unfortunately, the writing that ties it all together is, for lack of a better term, nonsense. The dialogue is rough, and the story is worse, ending at a point that leaves you baffled. Where the story does make some sort of sense, it fails to be interesting in any real capacity. This drags the film down immensely, but the directing chops from Stuckmann do show promise, and seeing as the film was picked up by Neon, clearly, there is some potential here for Stuckmann to try again at some point. Score: 5/10

Bugonia (Directed by Yorgos Lanthimos)

Though I have not fully delved into his filmography, Yorgos Lanthimos’ recent efforts this decade have rarely missed the mark. Poor Things in particular is a masterpiece, and it is a full honing of his wacky style, and yet full to the brim with substance. His frequent collaborations with Emma Stone work exceptionally well, and Bugonia is no different. With its wacky as ever concept, excellent performances, and imposing score, this is yet another hit for Lanthimos. It has to be commended how strange this man can get with his films, and yet still make them make some sort of sense. This more smalltime effort, as opposed to the long odyssey of Poor Things and episodic epic of Kinds of Kindness, has this interesting grounded quality that shows Lanthimos with a lot more focus. Ideas are not being thrown at you in quick succession; it mostly just hinges on the central conversation: Is Emma Stone an alien or not? It is an absolute riot to go through the motions with Jesse Plemons and Aiden Delbis, listening to their preposterous theories and laughing along at their many idiosyncrasies. This is one of the most fun films of the year for me, and it is another must-watch from an excellent modern director. Score: 9/10

The Running Man (Directed by Edgar Wright)

I have never been the biggest Edgar Wright fan in the world, but I do certainly enjoy some of his films. Scott Pilgrim is an absolute fever dream, but I do love the crazy style that Wright imposes on that film, and it is infectious. The Running Man sees all of that personality in his filmmaking completely stripped away, leaving a bare-bones action film devoid of any real style. It does not help that the substance that comes with that is not great either, being extremely heavy-handed when delivering its themes, and failing to immerse us in the strange dystopia that this film is set in. The story is uninspired and, at best, sufficient; the action set pieces offer some fleeting sense of enjoyment, but there is no point when watching this that I felt fully engaged. The only real solace in all this is that Glen Powell is incredibly charismatic and carries the film on his back as a result. He does not have a hell of a lot of range as an actor, but starring him as a slightly snarky action protagonist is never going to fail. He alone stops this film from being a complete catastrophe. Score: 4/10

Zootropolis 2 (Directed by Jared Bush and Byron Howard)

After rewatching the first Zootropolis, I had forgotten how solid it was, with a genuinely dark plot for what is essentially a kids’ film. It is definitely one that adults can really enjoy, giving as much for them to pick up as their kids who watch it with them. From some excellent references to dark subject matter, it epitomises Disney’s talent of making films for literally everybody. Its recent sequel is no different, expanding the world even more and having a lot more fun with it. Introducing reptiles and how they work within the animal kingdom is a fun concept, but it is done with a lot of maturity, playing with stereotypes, and themes of discrimination and corruption. The voice-acting is excellent across the board, particularly Ke Huy Quan as Gary De’Snake, who is a really interesting character that offers a lot of depth to the story. Continuing the trend from the first film, it is littered with references for adults, including one sequence that directly pays homage to The Shining and somehow does not feel forced or out of place. This is a great animated venture, and you could certainly do much worse, sticking this on to watch with the kids. Score: 8/10

Blue Moon (Directed by Richard Linklater)

With Nouvelle Vague having released recently, too, Richard Linklater has been incredibly busy in the director’s chair. Thankfully, this does not mean that his talent has been spread thin because Blue Moon is excellent and exactly my kind of film. All set in a bar attached to a theatre, it centres around Ethan Hawke as Lorenz Hart, a lyricist incredibly bitter about his former writing partner’s success, having released Oklahoma! This is purely an opportunity for Hawke to just show off, displaying Hart’s bitterness and arrogance, but also his eloquence and intelligence. If not for Timothée Chalamet, he would be my front-runner for the Oscar this year easily. Its other nomination for best original screenplay is definitely the film’s most deserved decoration, representing my absolute favourite kind of script. It is incredibly snappy and sharp, and it flows so beautifully that I could watch it for hours. With Hartz being a lyricist, his dialogue is very articulate, expressive, and a joy to watch. This is a simple but effective film, and it is easily one of my favourites of the year. Score: 9/10

Five Nights at Freddy’s 2 (Directed Emma Tammi)

With this multi-media spanning franchise’s cult fanbase, frustratingly, it does not surprise me that the first Five Nights at Freddy’s managed to swindle itself a sequel. After its rough first outing, I was not expecting much better for its sequel, and that lack of faith was well-placed. This film is a failure on almost every front, and it pains me to see its fans eat it up and treat it like it’s incredible. As much as I have no affinity for the franchise, fans deserve better, and they should want better than this thrown-together, embarrassing film. The acting is awful, but that is mainly thanks to the poor dialogue and lack of any real direction, resulting in everyone sounding completely hopeless. Story events just happen without thought, resulting in a distinct lack of flow that results in terrible pacing. Any story events or reveals come completely out of left field, mindlessly untelegraphed and devoid of any reasoning. Characters are hopelessly stupid, not noticing a 10-foot robot standing in their living room, something that would have been funny if it leaned into a more campy vibe. Possibly the only good thing about this is that the animatronics look good on screen, but it is a shame they were not utilised better. Though not greenlit, it looks like a third one is on the way, so brace yourself for that. Score: 2/10

Marty Supreme (Directed by Josh Safdie)

If I had time, I would have loved to do a full article, gushing about this wonderful film. Alas, with the busy Christmas period, things have come thick and fast, and I have not had enough time. I am sure people who have wanted to watch this have done so already, because it is that kind of film. A true event piece of cinema that works on every single level. Timothée Chalamet is on a drive for greatness, trying desperately to get an Oscar, and he honestly deserves it now. What better film to star in for him at this point in his career, as an arrogant man who will stop at nothing to achieve his dream? The film is almost a detrimental caricature of Chalamet’s career, to the point where its self-referential nature and peak casting had to be praised. He is exceptional in this film, and if this does not get him the Oscar, I will be truly baffled. The film itself is this immense onslaught of high-stakes scenarios, one after the other, of Marty trying to dip his toes in multiple different pools, just for a lick of success. He is a horrible person, but he is so interesting to watch, thanks to Chalamet, but also the remarkable script. I said with Blue Moon, I love a snappy script, and this is definitely that. It is not as clean a screenplay as Blue Moon‘s, but wow, is it exciting. I could gush about this all day, and I implore you to watch this. Score: 10/10

The Housemaid (Directed by Paul Feig)

From one film so exciting and unpredictable in Marty Supreme, to one quite the opposite. The Housmaid is not a bad film at all, but it is very middle-of-the-road and a bit unimaginative. The story is quite predictable and fails to really break the mold when it comes to a procedural thriller like this. In fact, it does not do anything that makes that genre so great, it is just middling with some fairly well-constructed conflict that has moderately satisfying payoffs. There is not much else to it because it does not feel crafted with any sort of finesse. Feig’s direction is all over the place, particularly where the actors are concerned. Sydney Sweeney is wooden and lacking in any charisma and Brandon Sklenar is incredibly mushy until he becomes quite the opposite, which is such a drastic turn. I realise that is the point, but when compared to Amanda Seyfried’s camp extravaganza, it feels there is something missing. If Feig directed everyone with that campiness, this would be a much more fun time that had a bit more to it. Instead it is just a fine film that will not live long in the memory. Score: 6/10

Sentimental Value (Directed by Joachim Trier)

Having not seen Trier’s The Worst Person in the World, watching Sentimental Value has skyrocketed it up my watchlist, and I am keen to see if it holds up in comparison. Sentimental Value is an extremely intelligent film, full of nuance and rawness, both in the story’s themes and construction, as well as the performances. Dealing with sisters who struggle to welcome their estranged father back into their lives, you can already tell it is going to be a particularly heavy one that will strike a chord with many. What I appreciate most is how there is no definitive reconciliation between the sisters and their father, as real situations like this do not work like that. It is a gradual process, trying to fill that void that appeared in the father’s absence over time, and not just being happy he is back. The sisters have moved past it, becoming their own women thanks to their mother, and struggle to see how their father can connect with them again. There are so many layers to this story, and its connection with people will be evergreen in years to come. Performances from Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, and Elle Fanning are all some of the best of the year, and they deserve their flowers this awards season. Trier is a director that many are enthused by, and with the way he guides this emotional narrative so maturely and intelligently, I see why. Score: 9/10

28 Years Later: The Bone Temple (Directed by Nia DaCosta)

We are truly spoiled that we have been granted two great 28 Years Later films in the space of a year. This is the second entry in what hopefully becomes a trilogy, and it does not disappoint after its phenomenal predecessor. Though a much different film in style and scale, it is still very thematically dense and, of course, full of all the mayhem you would expect from a film in this series. Though not in the director’s chair, Boyle’s presence is very much still felt in the film’s wackiness and its token Britishness. Take nothing at all away from DaCosta, though, who directs some of the best scenes in the series effortlessly and with so much goofiness that has no doubt been rubbed off on her by Boyle. Garland’s great writing is still definitely felt, too, carrying on well from the first film, expanding characters and the world even more. Spike (Alfie Williams) continues his coming-of-age journey, seeing the cruelty and monstrosity of men here, as opposed to the primary focus of the infected in the first film. Jack O’Connell portrays that monstrous nature so chillingly as Jimmy Crystal, and I doubt he is a character that will be forgotten about anytime soon. However, Ralph Fiennes is the star of the show here, delivering Kelson’s intelligence and ponderous nature well, but also letting loose with some of the more insane later scenes to make them truly spectacular. Though definitely feeling more episodic and more like an episode of a TV show than the first film, that is not necessarily to its detriment, as it is thoroughly entertaining for what it is, and things are set up nicely for the next entry. How exciting that we have such a strong modern horror trilogy developing in front of us. Score: 9/10

No Other Choice (Directed by Park Chan-Wook)

South Korean director Park Chan-Wook is known as one of the titans of world cinema for a reason. Building his mental reputation with the insanity of Oldboy, a cornerstone of Extreme Cinema, he is a man who knows how to make a film exciting, absurd, and yet still full of intelligent and thought-provoking ideas. No Other Choice is no different and is a devilishly well-crafted film that the Academy should be well and truly embarrassed for not recognising at all for the upcoming Oscars. Full of political commentary on class and the merciless world of work and capitalism, it fits in the mold of South Korean cinema that tackles the country’s far too rapid modernisation and leanings towards socialism. It follows a man who loses his job due to his paper company being taken over by Americans, and him hatching a devious plan to remove the competition in the job market. Because in such a brutal world, where he has so much to upkeep, he claims he has no other choice but to take these drastic actions, as the title suggests. Dealing with these harsh realities, but doing so in a thoroughly entertaining story like this takes talent, of which Park Chan-Wook has plenty. Considering its darker themes, this is an incredibly funny film too, and it is remarkable how quick the tone shifts without feeling disjointed. This is a wonderful film and you will not be disappointed if you seek it out. Score: 9/10

That is my ‘films watched’ diary all up to date now, and what a year it has been for films. I cannot wait to see how the Oscars go and who gets the big awards, because there is some fierce competition. I have high hopes that this year will be full of just as exciting films, and I am very eager to review as many of them as possible!