It is a small movie with steep odds against it, but it is also extraordinarily accomplished.

Twisters isn't bad, but a braver film might have admitted that addressing the causes of extreme weather might be more useful than throwing nappies at it.

As an emotional journey Day One has its moments. For a supposedly scary movie, it's a little bit sloppy.

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 film is fun enough in its chaotic, grungy, rough and ready way. It may not propel Smith back to the top of the A-list, but it proves that he can get through a B-movie. At this stage in his career, that counts as a win.

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.

It is universal and emotional enough to hypnotise anyone who has been alone in a city, or been spellbound by a film on the subject.

For some viewers, this frenzied finale will be reason enough to treasure The Substance; for others, it will be reason enough to steer well clear. But no one who sees Fargeat's film will forget it. If she had taken it to its magnificently tasteless extreme 15 or 20 minutes sooner, it would have been a cult classic.

They're all beautifully performed, and they all sparkle with Lanthimos's deadpan genius: in his world, everything is just off-kilter enough to be funny, but just real enough to be horrifying.

Anyone fascinated by artistic follies will take an academic interest in its excesses, and it's certainly loopy enough to build a cult following. But this pretentious, portentous curio will test the patience of everyone else.

With all due respect to Miller's bonkers vision, and his incredible ability to put that vision on screen, Furiosa seems like one of those spin-off graphic novels that plug the gaps between two films in a franchise, but which don't quite match up to the films themselves.

Behind the impressive CGI, Kingdom of the Planet of the Apes is the definition of generic, all two hours and 25 minutes of it. The ending teases a sequel that offers a more intriguing conflict ahead, but that doesn't help us now.

The actors keep the film going, at times by sheer magnetic on-screen presence even when the screenplay lets them down.

Some films can re-energise a genre, like last year's huge hit Godzilla Minus One . . . Godzilla x Kong is the opposite, a dazzling visual accomplishment that already feels old.

Like the first Road House, it's a guilty pleasure, but it's not as pleasurable as it should be.

While not the most exhilarating 80 minutes, this is a movie that will find much identification with anyone whose teenage years were remotely angst ridden, with Hausner capturing the simmering tensions of suburban life with assured ease.

Parts of Dune: Part 2 seem just as monumental, lavishly bizarre and downright disturbing as anything that Jodorowsky and Giger can have had in mind.

The one Vaughn trademark that Argylle is lacking is the director's usual adolescent offensiveness. He's taken out all the sex, gore and swearing, which may be a sign of belated maturity, but which leaves Argylle seeming all too close to Ghosted, Shotgun Wedding, Freelance, Murder Mystery, and the other sort-of action, sort-of romance, sort-of comedy films which have been dumped on streaming services over the last couple of years. They're all vapid, anonymous blocks of content, but at least the others offer something vaguely glamorous to slump in front of in your living room when you can't settle on anything more nourishing to watch. Argylle, on the other hand, is being released in cinemas, so the shoddy and derivative nature of the enterprise is harder to forgive.

There is nothing in Aquaman and the Lost Kingdom that's fun or thrilling or moving enough to make you wish for any further sequels.

Haigh and his cast, including Paul Mescal as Adam's new lover, give this film about loss, enduring love and hope for the future such truth and poignance that it is easily among the best of the year.

The Color Purple is a big, brash spectacle, an extravaganza blending the styles of Broadway musicals, Hollywood studio movies and music videos, with a mix of gospel, pop, blues and ballads, all of that coming together smoothly in one exuberant film.

Nothing exciting happens. There are no challenges to meet, no obstacles to overcome, no Death Stars to destroy.

Chicken Run: Dawn of the Nugget doesn't just reach the standards of its high-flying predecessor, but it soars above them.

The Iron Claw's shallowness and eventual treacliness are especially disappointing.

Overall, then, Wonka seems to be straining every sinew to be the best possible family entertainment at cinemas this Christmas.

Esmail's adaptation of Rumaan Alam's 2020 novel adds a playful Hitchcockian spin and the starry cast of Julia Roberts, Ethan Hawke and Mahershala Ali to create a psychological thriller about family, technology and life in the 21st Century.

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

This absorbing film is likely to stay with you. It's a compliment to say that you may walk away with the off-kilter feeling that you have been in another person's dream the whole time.