No matter what your allegiance, or feelings of antagonism toward the man for Fergie time and defeats doled out by championship-winning sides year after year, it’s impossible not to admire his dedication to the game he loves and the town that made him who he is.

What we are left with instead is a story of astonishing tenderness; a study of love as a tempering salve to the sublime of history’s passing.

Amid the allusions and collisions, jump scares and very close calls, the thrills and spills of A Quiet Place Part II are elevated by its strong performances and a director with a keen eye for this intelligent genre piece whose broad appeal makes for another sure-fire hit. Take a deep breath, and enjoy.

The extraordinary amount of footage, which moves from monochrome, to grainy colour, to vibrant turquoises as technology and time march on, is really a wonder to behold. If, wherever you are in the world, there’s the opportunity to see Playing with Sharks on the big screen, then you should, to fully experience this eye-opening, vivid documentary.

It seems ridiculous to call a film that is only 73-minutes long an epic, but that is what The Dog Who Wouldn’t Be Quiet feels like. Though it should be made clear, by epic there’s nothing grandiose; there is nary a special effect to be seen and hardly a cast of thousands. But at the same time, Argentine filmmaker Ana Katz’s sixth feature encompasses a life and very nearly the end of the world.

This is a good solid three star movie. Which is perhaps where Snyder should be anyway, away from the extremes of deification and vilification. When he’s not trying to be great, he can actually be quite good.

Sound of Metal is an astonishing accomplishment for both its long-nascent director and its British star, Riz Ahmed, for whom his turn as heavy metal drummer Ruben represents a career-best performance.c

An expertly handled plot, interweaving lives, coincidence, past trauma and circumstance, is concerned with far more than mere bloody vengeance. Five years since the delirious oddity that was Men & Chicken, Jensen gets members of the old band back together for a thrilling, poignant film which sees writer-director and cast on top form.

For all its misdirection and confusion, Apples reaches a conclusion of unexpected emotional weight. An intelligent and clear-sighted piece of filmmaking, it is a highly accomplished first directorial outing by Nikou.

Nomadland, with its beautiful simplicity, and wonderful performances, manages to be an elegant, profoundly moving film which shows the real value of living, rather than just surviving.

This western-tinged, visceral Icelandic drama deserves as large an audience as possible.

Behind the closed doors of this lakeside paradise it is clear that there’s trouble afoot.

This film throws toxic male aggression right back at them.

The film undoubtedly delivers, with all the monster thumping and building smashing that we could want, not to mention a not-so-surprise late appearance from a classic adversary.

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.

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

In the end, Justine is an enjoyable and often charming British film, but a messy third act and unnecessary contrivances leave it lost in the lanes.

Notturno is a snapshot – in a patchwork of disparate vignettes – that captures the effects of trauma inflicted on and hardships lived by the civilian population.

Given its place and time, Ammonite’s coldness is perhaps apt, but its stiff upper lip may well not do enough to make yours quiver, either.

In his astonishingly assured debut feature, French playwright-turned-director Florian Zeller handles the mental decline of an elderly man with sensitivity and insight.

An affectionate labour of love, cathartic yet bitterly honest, Bell and Sng’s films paints the full, unfettered picture.

With a lot of filler and none of the killer questions that are crying out to be asked, The Lost Sons leaves a lot unsaid. Take a step back from the effect of the shocking material, and the by-the-numbers construction of the film makes it too formulaic to leave a lasting impact.

Humbling, awe-inspiring and frequently head-scratching, like a solar system mobile, Kahn’s film has a bewildering number of moving pieces.

The metaphors of colonial history, the subjugation of women and Aboriginal peoples, vicious social ills and a nation’s hidden guilty past are all alluded to. But their treatment in The Legend of Molly Johnson are not developed to the extent needed to leave the lasting gut punch, and change of consciousness, this admirable project could have achieved.