Clarisse Loughrey

No Sudden Move may be a fairly minor entry in his filmography, but it’s well-crafted and thrilling in a way that feels oddly reassuring.

Director Pascual Sisto has achieved something a little more clever than pure imitation. He takes his audience’s expectations, that his film can only lead to bloodshed and despair, and leaves them hanging in the air for as long as he likes – it’s both tantalising and deliberately unsatisfying. You’re never given the comfort of knowing what comes next.

The Duke reminds us once more, [Michell] knew how to get the very best out of his actors without forcing unnecessary dramatics.

That one already notorious sequence aside, Triangle of Sadness feels a little like gnashing at air.

Bad Boys: Ride or Die has learned a few valuable lessons from the Fast & Furious franchise – dumb and loud, executed with right enthusiasm, can feel like a warm hug.

This is about as graceful and fitting an endnote as you could hope for.

Thankfully, Quantumania coughs up a decent amount of the mania promised in its title – it’s done a far better job, at least, than last year’s Doctor Strange in the Multiverse of Madness, which was miserably sane.

In fact, all the ingredients are perfectly lined up here, and, in the right combinations, and with the pure wonderment of Michael Giacchino’s score, The Fantastic Four: First Steps does shimmer with a kind of wide-eyed idealism. And that’s lovely.

Behind the lazy, shock-tactic humour lies a streak of genuine humanity, something to carry the film beyond mere butts and boobs.

Kogonada neither wrote nor edited A Big Bold Beautiful Journey, and so we’re largely lacking in the sophistication department, or the soft musicality he’s been able to construct in his earlier films.

Together, both actors rise above the most blatant of Memory’s manipulations.

Elemental overcomplicates itself. It’s a straightforward romcom that’s also about culture clashes. And the systemic racism in city infrastructures. And the expectations immigrant parents place on their children.

The most effective scenes in Flamin’ Hot prod gently at how disharmonious the relationship between the man on the floor and the man in the boardroom can be.

Michelle Yeoh comfortably steals the show in this starry adaptation of lesser-known mystery ‘The Hallowe’en Party’.

Branagh doesn’t seem as eager as Cuaron to interrogate his own memories, or to reckon with how the protective veil of one’s parents can shield a child from reality.

Birdy, in many ways, is basically a pint-sized Hannah Horvath, Dunham’s onscreen alter-ego and the de facto lead of Girls. Both wrestle with the insecurities that stem from never quite aligning with traditional expectations of femininity. Both refuse to ever consider that the blessings and burdens they carry may not be universally shared among their acquaintances.

The Bad Guys 2 has just enough wit and spirit that you can take your kids to see it without feeling like you’re doing a disservice to their intellectual development.

Despite the drip-fed reminders of contemporary history (the Cuban Missile Crisis! the Kennedy assassination! Weren’t the Sixties wild, man!), A Complete Unknown struggles to fully engage with Dylan’s relationship to that intersection between politics and music.

All emotions here are predetermined. The point is that we’ve simply been given licence to feel.

Sumotherhood is, at times, so overstuffed that it starts to wear on the nerves. Yet, Deacon has also found a wholesome, and funny, heart to his film, circling back to the awkwardly desperate performance of masculinity that drove its prequel, and simply doubling it up.

Belo and Birch, and their star Jodie Comer, breathe life and fire into the mothers typically left stagnant on the apocalypse’s sidelines.

The Toxic Avenger is funny and charming, with a joke rate as consistent as this year’s The Naked Gun, and snappy editing that mimics the Edgar Wright brand of genre parody.

It’s exhausting. It’s exhilarating. And it’s exactly as absurd as you could ever hope it would be.

The Eyes of Tammy Faye has done right by its subject, but only at the cost of shrinking down her world.

Steve is a thoughtful, impassioned film in practice. Yet it’s deliberately made itself secondary to its source material.

Moana 2 would have made for a very nice television series – as it was originally meant to be. But as a reskinned theatrical sequel to one of Disney Animation’s biggest hits, it’s a little harder to justify.

Conclave turns ritual into the hysteria of a murder mystery, the tension of a political conspiracy, the pressurised force of a criminal heist.

Cary Joji Fukunaga has made a smashing piece of action cinema with No Time to Die – it’s just a shame it had to be a Bond film.