Throughout, Solondz never allows a situation to get too serious. Something clownish or ludicrous is always peeking round the corner. At times, as with the very finale of the film, this works brilliantly: generating something darkly hilarious and cutely uncomfortable.

No Way Home feels like a full and complete film in a way that earlier MCU entries failed to. No Way Home takes a cynical corporate elevator pitch and uses it to examine what it means to be Spider-Man in a world where Holland’s Peter isn’t the only hero.

The most commendable aspect of the The Return of the Living Dead is its ability to combine horror and comedy rather than allowing the different elements to become intermittent and the tone inconsistent.

Exploring the powerlessness an exasperated Diana (Kristen Stewart) must confront when faced with Windsor tradition, expectation and hypocrisy, a single weekend in the country is the epicentre of a far broader story, the shockwaves of which ripple through space, time, mind and soul.

As a historical account it is unvarnished without feeling dry or academic, and as a coded satire of the contemporary British political climate it is urgent and deeply impassioned.

By adopting an eerily voyeuristic approach and filming the barren North Dakota landscape with a cold, penetrating gaze Welcome to Leith creates a bone chilling atmosphere not too dissimilar to a horror film; leading the audience down a compelling, yet genuinely unnerving path into the darkest rudiments of the human psyche.

Greene seeks a deeper truth amidst the fragments of arch drama and investigatory reportage; artifice and reality bleed into one another with ease, the transitions smoothed by Sean Price Williams' photography.

The dark recesses of a diseased mind may make the headline, but it is the indictment of far more widespread infection that rings out and is striking in its prescience.

Perfect 10 is an acutely observed and beautifully shot coming-of-age story. It is also a tender, fastidiously constructed portrait of working-class girlhood that shimmers with angst, vulnerability, and compassion.

This is strong work for a debut feature, and while not presenting assisted suicide itself with the greatest of nuance, Plan 75 is an accomplished portrait of capitalist alienation.

The sheer joy and energy of the boys propels Trash and keeps us rooting for good over evil despite the contrived ending.

Taking place over the course of a little less than 24 hours, it is day-in-the-life cinema at its most pertinent.

It was Shivers that laid the groundwork creating the blend of sex, distorted psychologies and horror which became Cronenberg staples and his signature style in the years to come.

It's a little messy, like life, but it's also beautiful to experience.

The film is strongest in its first half but the double act between Wright and Pattinson sustains throughout: never has the Bat-Gordon partnership been so well-realised. Inevitably the door is left open for sequels, but The Batman stands up as an incredibly satisfying, grown-up vision of its own.

It’s refreshing to see a character with Down Syndrome treated with depth and intelligence, in control of their own story and not being patronised. Gottsagen is truly a shining light, bringing a strong, wonderfully rich performance -and brilliant comic timing- as Zak to the film.

Men is a hallucinatory provocative work which will provoke laughs and yelps and not a little self-reckoning.

Devoid of cash-in cynicism, and full of belly-shaking humour, Paddington proves to be not just a wonderful contemporary rendition of the bear, but a polite hat-tip to the man who created him, paying homage in the best way possible: by bringing a gentle, slightly reserved, smile to audience faces.

Dean doubles as cinematographer and his ability to unobtrusively capture moments of village life is matched for an eye for the natural beauty the tribe lives amidst. But it's a beauty which never drowns the film. There's also room for jokes and gossip, nastiness and fun.

As a return to the dark, primal and transgressive terrors of the original movie, Alien: Covenant is a success.

Makes for a generally powerful statement on human misery and grotesque inequality, though some third act creative decisions and maneuvers cause a wobble or two.

Setting his film largely on the dingy confines of an overnight train, Kuosmanen kindles a tender love story between two lost souls.

In Farrell and Kidman, he has found two performers who are utterly willing to go the whole hog and their performances are brilliant deadpans.

Possum’s evocation of wrongness, that unbalancing feeling that something is off – if only you could put your finger on it – lingers long after its overdetermined climax has resolved.

Logan Lucky is satisfying on the simplest of levels, but if you peel back the layers it becomes evermore rewarding.

It’s an important moment for representation on-screen and surprisingly political in nature.

Hotel Salvation is a bittersweet meditation on life, death and salvation.

Those looking for a complex, funny and touching family will be more than rewarded for seeking this out.