Linklater’s Hit Man is an Aperol Spritz with enough fizz and prosecco to cover the taste of the strychnine. This could be one of the brightest dark comedies of recent times.

Eastwood and Bridges handle the tricky character transitions well, playing the broad material for the back rows while hinting at the inner darkness. Cimino’s Thunderbolt and Lightfoot beckoned in the strange birth of a true auteur, and it’s one well worth digging into.

Herzog may shepherd the creative output, but its Kinski’s impassioned misrule that makes Nosferatu, the Vampyre truly terrifying.

This is a rich and complex take on guilt and anger.

First-time writer-director Blerta Basholli’s feature is an expertly crafted, compassionate testament to the perseverance and defiance of its courageous female collective.

Actor Daniel Brühl makes his directorial debut with this delightfully taut, blackly comic satire.

Bryan Fogel’s new documentary painstakingly – and painfully – traces the moments up to and following Khashoggi’s murder.

The performances of both Moss and Waterston are tremendous, filling the empty spaces of the frame with a suffocating mist of pain and suffering.

Essentially a caper movie, Dope defies the wearisome social realism that is often used to depict lives at the bottom of the social ladder. The script is verbally smart and the various contrivances and tangles of the plot are amusingly played out.

Marcel the Shell with Shoes On is a true delight.

It may not be what everyone expects from a sequel to The Lego Movie, but in some ways that’s the best thing about The Lego Movie 2. It presents something different, wrapped in a familiar outer core.

Led by a trio of tremendous performances from its female leads, Wright, front and centre as Jamie, is the stand-out.

Some films, though very much of their time in style and approach, are timeless in their ability to unnerve. De Palma’s The Fury is one such fine genre exercise.

Timothy Greenfield-Sanders’ timely documentary on the Nobel Prize-winning novelist is a persuasive argument for rereading Morrison if you’ve already read her works – and if you haven’t, an imperative to get to it.

Following in the footsteps of legendary documentary Paris Is Burning, Pier Kids is a poignant and chaotic study of the community of young black gay men and trans women who congregate at the piers of Hudson River Park, New York City.

Brawl in Cell Block 99 is a midnight movie to relish.

As this is only inspired by the real events, there are perhaps one too many threads neatly tied into a bow, but all of them work in concert with the main event.

Streets of Fire is fairly devoid of anything resembling a cohesive plot or lacking even a shred of subtext. It exists purely as pop action cinema, sweeping you up with a fevered enthusiasm and an overpowering desire to entertain which proves incredibly difficult to resist.

The Harder They Come‘s two defining traits – violence and style – inform almost all of Ivan’s behaviour as he adopts the fashions and nihilism of the heroes of American and European cinema. Yet the world around him remains dully ambivalent and cruel in ways more complex and unpredictable than the characters he replicates.

Shock and awe are both present - as is Escalante's intense style - but Heli lacks the ideas or formal dexterity to constitute a state of the nation address in any but the most cursory of ways.

The Wakhan Front's script is finely-balanced, allowing the possibly supernatural to slowly impinge without resorting to genre clichés.

It is told with characteristic precision, compassion and determination by its prolific director.

Its woozy oddity does linger and the process of falling in and out of love may well feel like drowning. But as we come up for air in closing it must be said that the best is surely yet to come from this excellent leading pair and gifted director after this latest underwater outing.

Far From Home nails its characters, chemistry and sense of humour, while fumbling the action and visuals.

The humour is scant and there's no real risk of peril (Grant George's nephew and his dastardly plans seem more psychopathic than threatening). Yet when you have a film that's colourful, easy on the eye and full of positive messages about friendship and trust, then kids will be happy.

For Herzog it is people that matter and he's just as fascinated by Elon Musk's gazing at the stars as those battering their keyboards or avoiding them altogether.

Schipper's script doesn't quite complement his technical prowess and once you peer behind the smoke and mirrors of the film's one-take gimmick the criminal-underworld lurking behind it feels trite and contrived.... Yet none of this can take away from its pure entertainment factor. An experience akin to a burst of pure adrenaline intravenously introduced to your bloodstream, Victoria remains one helluva ride.

The thoughtfulness of Plummer's performance is not matched by a script that forgets human logic in favour of narrative tricksiness that ultimately undermines the initially intriguing premise.