Jordan Bassett

Inside the Manosphere is a meta masterpiece that tackles the algorithmic poison being served to young men, but also says so much about the battle between new and old media, as well as the toxic battleground of social platforms, contemporary conspiracy theories and the parasocial relationships that make some influencers rich.

At one point, he insists he’s not a workaholic but a “playaholic”, which might be the ultimate Macca-ism. In fact, that quip sums up his depiction in Man On The Run: goofy and a little corny, but always endearingly himself.

It is a film about living fully and without fear, a cynicism-free zone where, for all their fast-talking, people love each other so much it makes your heart feel like it’s about to burst. Talk about a smash.

This is a horror that’s in love with scary movies; a post-modern remix of genre classics filmed through an arthouse gauze that never obscures its goofy sense of humour.

If Caught Stealing’s not quite a home run, it is a nail-biter that’ll have you hooked until the final play.

If it sounds like Boyle and Garland have been smoking some super-strength Cali weed in the writers’ room, you’ve heard nothing yet.

Final Destination Bloodlines is even more self-aware than its predecessors, with hugely enjoyable results.

It’s a shame the movie has such a goofy name, which throws a shroud over a powerful and unique cinematic experience.

Wolf Man isn’t quite as creepy or emotionally charged as its predecessor. Some of the dad trauma stuff is laid on a bit thick and the whole enterprise runs out of puff in its final third, partly because the titular creature doesn’t actually look very scary (at times, you sense a strong coffee and a fry-up would sort him out).

With scenes of harrowing violence, the film often feels totally unsafe: no adult’s motives are beyond reproach. In true Andrea Arnold style, though, it’s also a life-enhancing tale that soars with unexpected grace, optimism and faith in humanity.