Directed by Kelsey Mann, Inside Out 2 glimmers with diamond-hard truths about the complex business of being a human being – especially a teenage human being – but it's still a fast-paced and playful comedy adventure with even more jokes and more puns than Inside Out.

The message underlies but never overpowers a moving, witty character piece.

The lurching rhythm of their relationship keeps you on edge, but it's also moving to see how tearful and confused Romy can be, and it's darkly funny to see how she bluffs her way through her double life. Ultimately, though, Babygirl comes to seem genuinely romantic, because Romy and Samuel are fumbling their way towards a deeper understanding of each other. As uncomfortable as the film may be, it's clear that Reijn loves and respects her damaged characters, even if they're not sure of how they feel about themselves.

Anora fizzes with energy and laugh-out-loud moments, but it isn't recommended for anyone with high blood pressure. It builds into the kind of hectic farce in which not just one person is stressed: everyone is stressed.

Adapted from a melodramatic novel by James M Cain, it is a magnificent blend of film noir and feminine soap, glossily crafted by Michael Curtiz whose versatile achievements included Casablanca and Yankee Doodle Dandy.

Writer and director Sam Levinson, who also created the audacious and enthralling HBO series Euphoria, gives the familiar story a makeover with dynamic, sensitive performances from its hugely talented stars, and a story that broadens to include race and the new Hollywood.

The investigation is exquisitely constructed, with a stream of revelations, some pulse-pounding action and continuous glimmers of wry humour. It's also a model of elegance and restraint.

As bleak as it is hard and viciously uncompromising, Get Carter is one of those films that has become increasingly interesting over time.

Throughout, Colman and Cumberbatch's performances make the dialogue much funnier than it sounds in print.

Maybe because or in spite of this near psychedelic experience, Floyd at Pompeii has become my favourite concert film of all time. Maybe it's because the lack of an audience means you don't feel like you're having a second hand experience. Maybe it's because you're getting to see a legendary band playing sometimes genuinely transcendent music in a strange environment.

On the Rocks is practically a distillation of Coppola’s Lost in Translation style. Each scene is compact and feels lived in, without any urgent narrative drive. That elegant surface makes it seem like a trifle, but there are layers beneath.

Based on the play by Bill Naughton, Lewis Gilbert's film broke new ground by interspersing its amorous anti-hero's sexual conquests with frank and witty confessionals delivered straight to camera.

Ozu's pared-down visual style facilitates our involvement with these 'ordinary' characters, who are struggling to reconcile their feelings of duty and desire, and to accept life's inevitable changes.

Stalker is an epic and frequently puzzling inquiry into freedom and faith, which unfolds in an unspecified totalitarian society.

Marty Supreme has such scope, ambition and humour that its flaws, as with those off-screen Timmy exploits, are easy to overlook.

The sequel to Gremlins actually proves more enjoyable than the first film, offering audacious dark humour and a lot of knowing 'in-jokes'.

There are some cheesy moments (and gaping plot inconsistencies) as one might expect. But any laughter soon turns to screaming as the screen fills with calculated gory mayhem and some fine shock moments.

Ducournau's beautiful, dark, twisted fantasy is a nightmarish yet mischievously comic barrage of sex, violence, lurid lighting and pounding music. It's also impossible to predict where it's going to go next.

This remarkable collaboration between legendary Japanese animator Leiji Matsumoto and Parisian techno gurus Daft Punk is a visual and aural treat of intergalactic proportions.

It has the ring of a tall tale that has been told in pub after pub, gathering weird new details every time, until it has become a part of Irish folklore. It's a story that you'll want to hear – and tell – again and again.

Dreams of the future merge with memories of the past as a fascinating array of imagery is conjured to the screen. The effect is sometimes confusing - but always beautiful - and eventually intertwines to a singular life-confirming realisation that cuts through the madness and embraces it.

As Eggers proceeds steadily and methodically through the events in Murnau's masterpiece, you may admire the intelligence and painstaking craft that has gone into it, but you may also have the feeling that you're watching actors playing time-honoured roles rather than real people in mortal danger. Horror fans needn't worry, though: Nosferatu has its share of gruesome shocks.

This is a film that is undoubtedly more effective in the dark, with a top-notch sound system and a huge screen, than it would be on a laptop or a television. If, like Evelyn and her family, you are willing to venture out of your home and into the outside world, you could hardly ask for more suitable or more exhilarating entertainment.

The Woman King leans toward fantasy in its heroic moments, but is rooted in truth about war, brutality and freedom. It is a splashy popcorn movie with a social conscience.

A touchstone for many of the sub-standard gangster films Britain mercilessly churns out today, The Long Good Friday is classy fare and superior viewing to its modern counterparts in every way.

It feels like a tantalising trailer for the longer and presumably richer and deeper film that is still to come.

A glib misreading of Men might reduce it to: "Ha! Men! They're all alike." But the film's ending emphasises how much Harper's trials and Garland's film have been about her profound tangle of love, grief and understanding.

Perhaps the film could have done with a little more conversation and a little more action, but it's still a quietly affecting, sympathetic tribute to the kind of person who is a supporting character in most biopics.