What stands out most in Siegel’s The Killers is its unfaltering commitment to pulp fiction.

There’s an ironic detachment that permeates the dark fairy-tale atmosphere, and the performances are pitched to that heightened David Lynch-like caricature.

An exquisitely rendered study of entitlement and millennial dissatisfaction.

The film itself is fairly conventional given the wildness of its subject matter and Jim Jarmusch's pedigree.

As fascism in South America, North America and Europe is rising from the grave, it needs a properly-aimed and delivered stake, rather than complacent sniggering

Aster has concocted a weird mixture of dread, black humour and pathos, conjuring sympathy for the devil in a feverish hallucination.

Despite a promising concept and strong production values, Summertime's poor execution makes it one to avoid.

While it hardly pushes the envelope in terms of developing Marvel's homogenous narrative conveyor-belt, it does do so in other areas, suggesting that the MCU can see beyond the confines of its first two phases.

Okuno’s Watcher is smart, engaging and intelligent, and it’s especially refreshing to see this sort of mid-budget, grown-up genre film getting a proper theatrical release.

Composed entirely of found footage and presented in black and white to lend visual consistency, the film raises important questions about the politics of viewership, the documentary form’s complex ties to reality and about human relationships in a digitally connected world.

Bearing in mind the dramatic nature of the real life-and-death story at Dormant Beauty's core, this is an unacceptable and irresponsible piece of filmmaking for all of its good intentions.

Elliot explores the film’s central themes of loneliness, mental illness, love and friendship, all with a deft balance of humour, sadness and subtlety.

A desire to avoid sentimentality is admirable, yet Still Alice relies entirely on Moore's performance to mask its multitude of shortcomings.

By situating the film in the context of domestic abuse, Whannel avoids cliché by evoking the way that distressed women are routinely treated as irrational and disreputable – a theme carried through to the film’s inspired conclusion.

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.

Far from breaking the mould of the survival drama genre, Arctic nonetheless offers thrilling moments and entertains throughout, mainly thanks to Mikkelsen’s muscular performance as the grizzled Overgård.

The Falling's refreshingly all-female perspective expects the viewer to become wholly caught up in its broad surge of feeling, yet there's something unsatisfactory and disaffecting about the film's asinine finale.

A film that is chock full of insight, piercing ideas and visual metaphors that unfortunately are never fully realised.

The Imitation Game's approach is successful as entertainment but not totally satisfactory in providing greater insight into its subject.

The film doesn't simply work, it trumps expectation and lingers long in the mind.

Plá's film is a caustic, genuine swipe at a selfish and insincere society which is content to make money from the suffering of ordinary people.

Endless drone shots, perspective switches and too many CGI animals undercut any grit or claustrophobia that Trachtenberg – director of the brilliant 10 Cloverfield Lane – might otherwise have crafted. Meanwhile, the interminable score refuses to quiet down and let the images or emotions speak for themselves.

Like the best films from its genre, Seconds acts as a potent parable and posits an intriguing idea.

Covering depression, grief and pregnancy as body-horror, the end result is a palpably unusual mix of comedy, pathos and gruesome violence

Brilliantly acted, shot with precision and style, this is a deconstruction of the ‘nuclear family’ that cries out for a second or third viewing.

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 real success to Ralph Breaks the Internet is how, while having the most amount of fun possible, it’s also able to be cleverly subversive (no longer should the iconic Disney princess be reliant on men to strive) and deeply rooted in its themes of friendship, and all the ups and downs that follow.

It’s a fiery mix of ambition, mother-daughter love, female empowerment and childhood dreams – the gravities of each masterfully held together in the film, like planets in the canvas of space, revolving harmoniously around the sun.