Rogan Graham

Reflecting on McQueen’s oeuvre, Blitz is a clear culmination of his greatest passions, the film itself feeling at once fresh and well-trodden.

There is a persistent tension in the film between the history of those who were forcibly displaced, and Hiam, who made the autonomous choice to leave.

The Bikeriders is an enjoyable ride and one that Nichols fans will get a kick out of. The ensemble cast is enticing but the tried-and-true story arc isn’t injected with enough rigour to make this the classic it could be.

As much as the party line insists this film is a celebration of Amy’s musical genius, it is as salacious and cruel as any tabloid cutting from the noughties – only invested in the bloody ballet pump left in the street, not the complexities of living a very public life with addiction.

Kaluuya and Tavares are bold in presenting gentrification as the cultural murder that it is while also celebrating, with clear eyes, the regular person who lives on in spite of it.

Chukwu directs a compelling tribute to what Mamie endured and achieved, yet for anyone familiar with the history, new insight is perhaps lacking.

The Woman King is unafraid to sprawl out and dig in as it explore histories untold, while delicious action sequences of near-exclusively hand-to-hand combat unfurl in front of us. It is a celebration of a filmmaker and a cast at the peak of their powers.

Anchored by two superb lead performances from a strong and silent Kaluuya and vivaciously hilarious Palmer, Peele flexes his aptitude for creating tension to both horrific and comedic effect.

Chukwu is a master of show don’t tell, and the deft emotional performances she elicits from Woodard and Hodge make this heavy experience completely worth it.

Gavron has used her clout to pull together an inclusive team that goes beyond representational box ticking. She has made a film powered by real empathy and joy. Bakray isn’t a black face in a white story – there is space for cultural nuance.

There is always an issue of sensitivity with documentary filmmaking, but the final film is wanting. Wanting more Marion, and wanting more interrogation of the role public news plays in American life. But that doesn’t mean this documentary isn’t worth your time, Marion was an actionable inspiration and contradictory genius.

Mangrove is a necessary and exhilarating illustration of the staying power of Black Britons.

While the beautiful directorial flourishes are still there – the fluid cinematography, striking performances and airtight soundtrack – Alex Wheatle is the first Small Axe film where the blend between the informative and the pointedly artistic feels a little unsettled.

Essential, infuriating viewing.

A few laughs accrued from Bugs Bunny, but mostly a depressing slog

Whether you laugh with or at Marry Me, the odds are you will laugh. So that’s a win.