Maybe Lord and Miller knew what they were doing when they went for such a bright and breezy tone. They've crafted a sci-fi epic which is more than two-and-a-half hours long, and which is a one-man show for much of that time. They have filled it not with action, but with mind-stretching concepts, painstaking laboratory research and knotty technical puzzles. To do all that and keep things zippily entertaining throughout is an extraordinary achievement.

At times it's as if the film itself was stitched together from the parts of other movies, but collecting all those bits and pieces is a sign of Gyllenhaal's huge scope and ambition.

It's undoubtedly true that with its highly privileged social milieu and chic interiors, At the Sea could be caricatured as another "rich people have problems too" drama. But the depth of feeling in Adams' characterisation of Laura taps into something much more universal.

Starring Margot Robbie and Jacob Elordi, Emerald Fennell's new take on the classic romance is far from faithful to the original book – but it is "utterly absorbing" in its own right.

The strange thing is that, while the first Avatar seemed exhilaratingly futuristic, the third film seems like a relic of an earlier era.

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

It's true that many viewers have already fallen under its spell, but Zhao and O'Farrell have stripped away so much of what makes the novel magical – the time-travelling structure, the hypnotic prose rhythms, the internal monologues and the tiny, tangible details – that what's left is no more profound or authentic than any other costume drama set in ye olde days.

This film is as slick and shiny as Glinda's lip gloss, but it may also be just what its many fans want.

The Lost Bus doesn't have to bludgeon viewers with a message or with its timely resonance. Greengrass lets us feel it.

American society, in all its strengths and missteps, has been a major theme for both Pynchon and Anderson, and it grounds Anderson's dazzler of a film, giving it an emphatic, unmistakable political charge.

No other film this year will get more people talking, or more people crying.

With its Gothic atmosphere and deeper themes, Wake Up Dead Man has a darker tone than the previous Knives Out films. Yet it is also the funniest and most playful so far.

For now, Sweeney's celebrity still overshadows her acting.

More riveting than most thrillers, and more terrifying than most horror films.

It's touching to see this icon of athleticism and positivity in a melancholy film which asks whether training for a championship is really worth the effort.

No Other Choice isn't just Park's funniest film, but his most humane, too – and that's quite something for a comedy as violent as this one.

It's refreshing to see a grown-up Hollywood film that takes on contemporary issues: feminism, cancel culture, identity politics, and the generation gap. But After the Hunt is more of an admirable project than an engaging drama, because it never stops reminding you of how clever it wants to be.

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

The best superhero movies let you ignore how ludicrous the plots are, but the silliness of The Fantastic Four is always in your face.

The first in DC's new cinematic universe starring David Corenswet is "glib and flimsy". Comic fans will love it, but this curio feels like "an eccentric sci-fi B-movie".

If you can't improve on Spielberg – and really, when it comes to this kind of film, who can? – better to try something bold to prevent any waning dino-interest.

This comedy gem features some of [Chaplin's] funniest scenes, including him eating his boot.

But it takes on a quieter, more psychological tone and becomes infinitely better when Fiennes arrives.

Formula One enthusiasts may disagree, and they may be delighted that their beloved motorsport has been put on the big screen in such a laudatory fashion. Everyone else: this is not where you want to be.

Moving on from its cynical beginning, Materialists takes the long way around to an ending that is decidedly hopeful. It offers an unblinkered, earned romanticism that suits this moment, and bolsters Song's reputation as one of our most astute observers of relationships.

Mountainhead may seem to be an argument for fast-turnaround films, but few writers and directors could do it with Armstrong's sharp eye and intelligence, as he entertains us with these heartless, all-too-convincing megalomaniacs.

Set in the military dictatorship of 1970s Brazil, this buzzy crime drama, which has premiered in Cannes, "makes up in pulpy excitement what it lacks in subtlety", and "bursts with sex, shoot-outs and sleazy hitmen".

Mescal and O'Connor are nuanced and charismatic, and it's amazing that an Irish actor and English actor should play these most American of roles so flawlessly, but The History of Sound doesn't probe beneath the attractive surface of its star-crossed lovers.