John Nugent

It’s never quite as satisfying an experience as Schitt’s Creek — but thanks especially to a sparky trio of actors, Daniel Levy’s directorial debut is strong when it comes to the heartache of grief and the importance of friends.

John Woo’s first American film in 20 years is not the filmmaker at his peak — but it has its moments, with energetically filmed action enough to distract from a melodramatic tone and sometimes silly concept.

The obvious chemistry and charm of Sydney Sweeney and Glen Powell counts for a lot, yet not quite enough, in a romantic comedy severely lacking in both romance and comedy.

Waititi’s shtick runs thin, and there are badly misguided moments, but this is still a warm, heart-mostly-in-the-right-place portrait of a momentously poor sports team.

Absolutely batshit, utterly filthy and a true original: Poor Things is as good as Yorgos Lanthimos and Emma Stone have ever been.

Silly, witty, extremely British — this is a family film made with a very Aardman-y kind of craft and care. A good egg.

Moving and musical, this is a striking portrait of courage and creativity in the face of some horrific odds chucked at you by life’s lottery.

This welcome spotlight on a lesser-known civil rights hero doesn’t escape the usual biopic clichés — but Colman Domingo’s impressive, deeply layered performance does this corner of history justice.

This might not be the venerable animation house at its very best, but it is a reminder of why they have endured for so long. Why change a formula when it’s a winning one?

It might follow a linear storytelling path a little too strictly, but Sylvester Stallone is a bracingly honest documentary subject, and fans in particular will take much from this look at a life and career well lived.

Silly, strange, and very funny, Dream Scenario is a psycho-comic-drama with a peak Cage Renaissance performance powering it. Don’t sleep on it.

A classic American sports movie, with all of its triumphs and clichés — kept afloat by two brilliant, warm lead performances from Annette Bening and Jodie Foster.

A very silly, sporadically serious hood spoof, with some surprisingly frank discussions of mental health — and a welcome redemptive arc for the multi-talented Adam Deacon.

A riveting revenge riot, with gobsmacking levels of film craft, and a performance from Michael Fassbender to make your blood run cold. It’s not quite top-tier Fincher, but it comes damn close.

Some likeable performances — and solid Irish accents — can’t save a dreary parade of clichés. Pray that the Lord forgives these cinematic sins.

Monumental stuff: a story about the deadly legacy of America’s colonial sins, both vast and intimate in scope. Exceptional filmmaking, by an exceptional filmmaker.

A fitting — and frustrating — end to an extraordinary career. Ken Loach’s powerful, poignant storytelling is occasionally stymied by his less subtle impulses.

A close encounter of the wordless kind, this is a smart and splendidly scary horror sci-fi, with a brilliantly brittle turn from Kaitlyn Dever.

With a brisk, biting comic tone and a nice line in righteous anger, Dumb Money skilfully picks up The Big Short’s baton for cinematic-economic takedowns.

A visually arresting new entry in the Dracula canon; if only the satire was as biting as its unlikely vampire star.

The rare teen movie that recognises crushes are never as important or powerful as BFFs — and one that marks an intriguing new direction for Adam Sandler’s Happy Madison productions.

An exuberantly bad-taste ode to our poochy pals. Dumb & Dumber, but for dogs.

Gerard Butler proves he has more in the tank than just thoughtless action with this Middle East-set thriller, which is unexpectedly interested in the people and politics behind the usual explosions.

Despite some warm performances, it’s very hard to ignore the feeling that this is largely just two hours of product placement.

Inventively animated, giddily funny, and a surprisingly authentic take on the outsider experience: it is virtually impossible not to be charmed by these reptilian bros.

Tense, stressful and savagely staged, this is a scarily good debut from YouTubers Danny and Michael Philippou. Be sure to hold someone’s hand while watching.

Sometimes the storytelling can feel like a stretch, but this is mostly a lively, well-told account of a bizarre toy craze gone wrong, and the big personalities behind it.

Madder than a bag of cats. Quentin Dupieux’s latest is even more absurd — and more pointless — than his film about a sentient car tyre. But it’s cheering to know he is still being allowed to make this sort of bollocks.