Another solidly gripping film from the ever-prolific Soderbergh, this is a terrific two-hander, with Coel and McKellen on fine, fierce form.

A high-energy doc that does a tidy job of spanning 50 action-packed years. We suggest you don’t run to the hills but your nearest cinema instead.

Hokum isn’t just hokum. On top of an affecting personal quest for a non-despairing ending, it delivers a full evening of scares, chills, wicked jokes and haunted escape-room hijinks.

Just a solidly made cat-and-mouse thriller, with muscularly committed performances from its two leads. It’ll make you want to explore the Great Outdoors and simultaneously never leave your house again.

A defiantly avant-garde take on commercial chart-toppers. It’s not for everyone, but it deserves to be: a gorgeous fusion of film, fashion, faith, and certified bangers.

Mark Jenkin is still Mark Jenk-ing: the most stubbornly analogue filmmaker out there has produced another satisfyingly baffling film about Cornish communities and the supernatural tension between past and present.

Closer to the gentle humanism of Paterson than Jarmusch’s cooler, ironic output, Father Mother Sister Brother is a small-scale and singular treat.

A cautionary tale against the dangers of excessive podcasting, this is a supremely spooky sonic ordeal. As an allegory for Catholic guilt, it’s haunting; as an auditory experience, it’ll fuck you up.

A dark and darkly funny dissection of a couple’s ‘perfect’ relationship, examining how internal forces and exterior pressures can drive two people to their breaking point.

The kind of good old-fashioned adult comedy we don’t see enough — delivering a confident commentary on the mess of modern sex and relationships. Unpredictable, unromantic and, most importantly, unbelievably funny.

A slight but consistently entertaining, thoroughly funny slice of life, this is Ben Wheatley untethered, letting off steam with a workout. It is a welcome carnival of misanthropy.

A special sort of film, one which can be enjoyed as a dark climate-change allegory and a bright, colourful, emotional yarn on friendship and family. Fantastique!

A very watchable old-school blockbuster crowd-pleaser. Ryan Gosling and an alien made of rocks are the best space-based double-act since R2-D2 and C3-PO.

A one-of-a-kind cinematic experience from Mona Fastvold, shot in glorious 70mm, fuelled by music and movement that will shake your soul. See it on the big screen, if you can.

So intense you’ll want to scarper but so riveting you can’t leave, Sirāt is an assault on the senses, mind and emotions. If only all movies took swings this bold.

Don’t call it a comeback — but this is really strong stuff from Pixar: funny, thoughtful, sweet, making for a heartfelt paean to nature, and beavers in particular. Dam good.

The offstage elements may slightly underwhelm, but Luhrmann’s kaleidoscopic exploration of Elvis’ Vegas residency is one of the most thrilling musical experiences you can have at a cinema.

A clever, funny, suspenseful, interestingly cynical science-fiction horror movie with a great collection of monsters — courtesy of make-up geniuses Dave and Lou Elsey — and a cast whose enthusiasm is, appropriately, infectious.

A beautifully hand-crafted love letter to childhood, self-discovery, and the life-changing power of really good chocolate, Little Amélie is 78 minutes of pure animated joy that welcomes one and all. 

With images of violence brushing against understated strength — amid a search for love, safety and self-actualisation — this is an astonishing cinematic experience that lures the past into the present.

An energetic, urgent and damning assessment of our prison crisis, Wasteman marks Cal McMau as an exciting new homegrown director.

Though not one for subtlety, Bronstein’s pressure-cooking, panic-mongering sophomore feature is perversely enjoyable — as long as you can take the stress.

An uncompromising debut that weaves Lidia Yuknavitch’s rich but troubled life into hypnotic poetry. Kristen Stewart reintroduces herself as an exciting filmmaker who’s out to make a splash.

A hugely impressive debut. Personal and political, this is a tender and spellbinding depiction of family in fraught times.

A wry, sharp and never self-serious take on pop stardom.

A cute, warm-hearted indie darling this is not. Twinless is an uncomfortable, pitch-black comedy you won’t be able to look away from, with a career-best performance from Dylan O’Brien.

Essentially “Men will literally do stand-up rather than go to therapy”, in cinematic form. An appealing tragicomedy-drama, told with veracity and heart by Cooper, Arnett and Dern.

Gnarly, gross and delightfully unconventional, this is exactly the kind of Sam Raimi film his fans have been waiting for, carried by a committed, no-holds-barred Rachel McAdams performance.