Cinema in the 2020s has been defined by disruption: streaming upended theatrical habits, the pandemic forced a rethink of what a film release even means, and audiences have increasingly embraced subtitled films like How to Make Millions Before Grandma Dies alongside big animation and documentary work. Macca's reviews from the decade reflect that breadth. Browse what he's made of it below.
Rating: 4.5★
For years, I've been saying that Oscar Isaac is this generation's Al Pacino. After sitting through Josh Safdie's Marty Supreme, I'm ready to eat those words whole and hand that mantle straight to Timothée Chalamet. This is, and I don't
Rating: 4.0★
There's a particular kind of pressure that surrounds a film like this. When a director of Hayao Miyazaki's stature comes out of retirement, again, to make the film he's apparently been building towards for decades, the weight of expectation is immense. The Boy and
Bergenfield Film Festival
Brianna Lee has been incredibly busy lately. Her feature The Troll premiered at Raindance this year and her short The Camper is playing the horror circuit, and she does very nearly every job on her films herself. Home is something else entirely. It is an eight-minute short, having had
Northern Horror Fest
Tobee Collins made Verena with no filmmaking experience at all. None. He taught himself to write, to shoot, to light, to edit and to score, and then went and did every one of those jobs himself: writer, director, producer, cinematographer, editor and composer. It was his first film, and it
Rating: 3.0★
There are films you admire enormously and films you love, and sometimes those two things refuse to overlap. Phil Tippett's Mad God sits squarely in the first category for me, and I've been wrestling with that ever since the credits rolled. It is, without any doubt
Rating: 3.5★
Everyone was talking about Saltburn when it landed, and honestly, I get it. Emerald Fennell's psychological thriller is the kind of film that burrows under your skin and refuses to let go, even when, maybe especially when, it's doing things you find completely daft. I came
Rating: 3.5★
There's a moment early in It Was Just an Accident where you catch yourself laughing, and then almost immediately feel guilty for it. That tonal shift, from dry, deadpan comedy to something far darker and more suffocating, is exactly what Jafar Panahi pulls off in his 2025 film,
Rating: 3.0★
I have to be honest: I walked into Noah Kahan: Out of Body as something of a neutral party. I've got a genuine soft spot for American folk music, and I don't mind Noah Kahan's work at all. Some of his tracks are genuinely
Rating: 4.0★
Some films don't just stay with you. They haunt you. Jasmila Žbanić's Quo Vadis, Aida? is one of those films. From its opening scenes, you feel the dread settling in, and it never, ever lifts. This is one of the most gut-wrenching viewing experiences I&
Rating: 3.5★
There's a moment in Skater Uktis where the sheer, uncomplicated joy on screen made me grin like an idiot. No irony, no cynicism, just a group of young Muslim women on skateboards, completely in their element. Seven minutes. That's all it takes. I'll be
Raindance Film Festival
There is a particular kind of documentary that sets out to change how you see a group of people, and Fabric belongs to it. Directed by Anabelle Marshall, this short documentary goes inside Espero Atelier, a Paris social enterprise that trains refugees in the exacting craft of haute couture tailoring
Rating: 3.5★
There are few pressure tests for a film quite like renting out a cinema for twenty-nine hyperactive eight-year-olds and hoping for the best. That's exactly what I did to celebrate my son's birthday, and I can tell you now: Toy Story 5 passed
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