Co-written and directed with sensitivity and visual flair by Anne Zohra Berrached, Copilot puts an intimate spin on the devastating events of 9/11.

Herself tells a compelling story, but combining a tough realist drama about domestic abuse and homelessness with an optimistic tale of solidarity weakens the foundations of this otherwise admirable film.

Shorta is a Molotov cocktail of a movie. For co-directors Ølholm and Hviid, it’s a Hollywood calling card. For the rest of us, it’s a tense actioner, anchored by powerful performances from its leads, who add layers to good cop/bad cop clichés.

An absorbing, awe-inspiringly huge adaptation of (half of) Frank Herbert’s novel that will wow existing acolytes, and get newcomers hooked on its Spice-fuelled visions. If Part Two never happens, it’ll be a travesty.

Despite a few narrative gaps that needed filling, Sam Hobkinson delivers a rollercoaster-ride of a documentary with superb characters, insightful talking heads and jaw-dropping plot twists.

The most original film of 2021, Annette is a ride like no other, a spellbinding waltz in a storm. See it for truly hypnotic filmmaking, a clutch of great songs and Adam Driver at his most magnetic.

Cinderella is given more independence, but at what cost? An irritating script ruins the sincere magic of the beloved story – strong music isn’t fabulous enough to preserve the DNA of a classic.

Though it delivers some entertaining comedy and bloodshed, Candyman is clunky and overly instructive in its metaphorical purpose — killing subtext as often as it does anyone foolish enough to summon the eponymous spirit.

Filled with both passive aggression and aggressive aggression, The Nest has the trappings of a haunted-house movie but delivers something much scarier — the slow death of a marriage, performed to perfection by Jude Law and Carrie Coon.

Featuring funny and endearing moments amid beautifully choreographed action sequences, Shang-Chi excels as a story about family and how it can be twisted by grief. Simu Liu, Awkwafina, and Tony Leung bring multi-faceted characters to life and, despite pacing issues, it delivers a hugely entertaining step in the right direction for Asian representation.

Although let down by muddled plotting, The Night House is a low-key, well-made thoughtful horror flick, excellently played by Rebecca Hall.

Snake Eyes finally speaks, but with frustrating action scenes, a middling story and unearned sequel-baiting, there’s not much here that’s worth listening to, or watching.

It might have worked better if it took itself a little less seriously.

Though it doesn’t stray far beyond fan service, this is a comfortable extension of a beloved British show that delivers a reliable mix of quotable comedy and heart.

Quiet, unforced and delicate, Pig provides a forum for Nicolas Cage, one of our most dazzling showmen, to get serious and burrow more deeply into his talent than he has in years.

A psychedelic rabbit-hole-drop of a movie from one of the most exciting new directors working in horror today.

Wildland is an original, a compelling gangster film unusually driven by women and told in stark, measured strokes. A unique calling card for director Jeanette Nordahl.

I’m Your Man is science-fiction with soul and a romance written for adults. Just like its mechanical hero, this tender film is attractive, smart and cunningly designed to win your heart.

A new take on Peter Pan that actually works, delivering all the visual richness you’d hope for from the film-maker behind Beasts Of The Southern Wild.

An anti-Bond, the closest Cooke’s movie comes to an action sequence is when someone breaks into a mild run. But there’s real drama, and even thrills, to be found in this story of a very unlikely friendship that changed the course of history.

A perfectly serviceable biopic with good performances, which goes some way to explaining Franklin’s genius as a musician and a star, but one that isn’t nearly as transcendent as its subject deserves.

Two parts raw and real, one part manipulative, Coda finds engaging characters and real emotions in a hackneyed narrative arc. See it, though, for a terrific turn from Emilia Jones, if for no other reason than to say you were there at the beginning.

A handsome epistolary affair gives way to a more formulaic matchmaking story, in an alluring romance that loses its shine. Maybe some things are better left in the past.

Combining genuine emotional stakes, biting black humour and enough blood and dismembered limbs to satisfy even seasoned gorehounds, Chris Baugh’s terrific, unorthodox vampire flick has got it where it Counts.

Not quite ‘Ready Player One Star’, but this is an odd duck: a Black Mirror-ish concept played for laughs, which ends up getting tangled up in its own code.

Bravo stylishly delivers a dreamlike odyssey with slick, character-driven performances full of conviction, but that courage dissipates by the final act with nary enough steam to power a satisfying ending for its eponymous hero.

It’ll pass the time easily enough for young viewers, but everyone else will wish they were spirited away on a more sophisticated adventure.

More family-friendly than for-all-ages-friendly — but lively work from the thriving Sony Animation makes this energetic Lin-Manuel Miranda musical mostly worth your time.

This documentary has value as a damning account of the film-world’s treatment of a child actor, yet as a piece of art and a personal portrait, its vagueness creates unease.

When Gunn took on Guardians Of The Galaxy, he turned nonsense into gold for Marvel. By giving The Suicide Squad the same sense of mischief and an equally surreal streak, he’s done the same for DC.

The very best kind of fan service from Edgar Wright, who has produced a documentary of granular detail and depth that showcases Sparks in all their glorious, indefatigable absurdity, while leaving a clear mark of mystery.

A film as sweet as it is sad, as pertinent as it is absurd, Limbo is an experience where not much seems to happen but where little things mean the world.

Credit goes only to its two stars that this is watchable, because the film is a derivative hodge-podge unworthy of their charisma. Just rewatch The Mummy and cut out the middle man.

A Twilight Zone–worthy premise, subtly sold by ace make-up effects, makes for a decent-enough thriller, intriguing in the moment but ultimately too timid to say anything meaningful about ageing.

Riders Of Justice is an oddball delight. Taking a leaf from the Coens’ playbook, it’s by turns ultra-violent then drily funny and surprisingly wise. Come for Mikkelsen, stay for his winning band of lovable losers.

1666 mostly operates in a different register than 1994 and 1978, but is no less entertaining. It rounds off an ambitious triptych chock-full of horror-history allusions, strong world-building, sharp scares, palatable gore, lively filmmaking and a likeable set of characters. Other scary-movie franchises take note.

Slickly produced but seriously stupid, Tournament Of Champions won’t exactly have you running for the exits — but your brain cells might not escape the room intact.

The fifth Purge outing goes for broke and comes out wanting, working neither as political commentary nor horror-action-thriller. In this case, bigger is definitely not better.

Despite some dazzling animation, this is a mess of celebrity and corporate cameos that fails to capture the weird spirit of the ’90s original, or the ’40s heyday — more ‘suffering’ than ‘succotash’.

Sonically flawless, authentically textured and deep-rooted in cultural significance, Summer Of Soul succeeds magnificently in capturing the scale, spiritual resonance and, yes, soul of the Harlem Cultural Festival. It will not be forgotten this time.

The most terrifying fashion film since The Devil Wears Prada, Deerskin is a deliciously ridiculous farce played largely straight. This is a jacket you will feel the benefit of.

The first film was so middle-of-the-road that most have probably forgotten it existed. Its sequel creates a more lasting impression, with vibrant animation and a wackadoodle sense of humour.

Stillwater mashes up quest-for-justice, father-daughter dramatics, fortysomething romance and mid-life introspection for a refreshingly adult drama. It doesn’t coalesce completely, but Damon and Cottin keep it engaging.

A solid if slight look at the quicksilver, complex character behind one of children’s literature’s most beloved creations.

Jeremy Hersh’s debut is naturalistic and well played. If it initially lacks momentum and oomph, the film becomes a multi-faceted look at issues surrounding surrogacy, anchored by Jasmine Batchelor’s central performance as a woman forced to make a life-changing decision.

The Truffle Hunters is a low-key delight, a poignant lament for a fading art that doubles as foodie heaven. Go on a full stomach.

It’s a short-film premise at a feature-film length, but few films take as many chances or go for broke as much as Jumbo. Wittock is an exciting new talent to watch, and Merlant spins something potentially laughable into a rollercoaster — or at least, waltzer — ride of emotions.

A darker middle act, Fear Street Part Two: 1978 lacks the verve of 1994 but still delivers enjoyable summer camp-based bedlam. Next up: 1666.

Fear Street Part 1: 1994 is a wild ride through ’90s horror tropes that somehow feels affectionate and fresh. It is, as they said back then, insane in the membrane.

Despite its wild premise — Chris Pratt goes to the future to fight aliens! — and considerable talent, The Tomorrow War is mostly just bloated blockbuster business as usual.

If it says nothing new about the dangers of over-indulgence, Another Round is funny and rich, a fresh, perfectly played, clear-eyed take on middle age ennui. Intoxicating.

It shouldn’t really have taken 11 years for the Widow to get her own standalone adventure. But thanks to some zesty new character dynamics and smart twists, Marvel have finally done her right.

French Exit boasts an assured cast but drab direction and lazy writing ensure the characters are never as eccentric, cutting or interesting as the film’s tinkling score would have you believe.

While not quite on a par with Happy Death Day, Freaky is an ebullient slasher that strikes a perfect balance of comedy and carnage.

Fatima raises some intriguing questions about faith but sadly fails to make us believe in anything more comforting than the climate of fear, distrust and grief that flourishes during wartime.

Sober and empathetic, Sweat understands how social media equally harms and helps those looking for love in the modern era. Magdalena Koleśnik’s performance is bound to make any woman online feel seen.

Supernova is a tender two-hander that gradually crushes your heart. What it lacks in cinematic width it gains in well-earned emotional depth, courtesy of delicate writing and two subtle but towering performances from Firth and Tucci.

Sensitively made, thought-provoking and ultimately moving, The Reason I Jump provides telling insights into the neurodiverse worldview. The result is a powerful documentary that presents life through fresh eyes.

Despite a muddled final act, Monster Hunter is satisfyingly efficient, a quick-fire thrill-ride of creepy thrills, nasty kills, and of course, monster-hunting.

A strange hybrid of Italian neorealism and fish-based fantasy, Luca is beautiful to behold but plays it too safe to make a real impact. Still, great CG linguine.

It’s a visceral experience; part survivalist drama, part slash-and-stalk thriller, filled with intensity and dread, all amplified by wild editing strategies (flash cuts, jump cuts, abrupt cuts to black) and strobe effects to stoke up the atmosphere.

Is this what Studio Ghibli’s future looks like? Probably not. But what Earwig lacks in animation elegance, it makes up for in sparky, kid-friendly adventurousness.

Lacking anything approaching originality, The Hitman’s Wife’s Bodyguard is a generic, by-the-numbers action-comedy sequel. Praise be for Hayek, who at least gives it gusto.

Hopkins is extraordinary as a man flailing against a condition that’s taking everything from him. And Zeller proves he’s a natural filmmaker, orchestrating a Wagnerian opera of emotion based entirely around an old man in a flat.

With Better Call Saul about to come to an end, Odenkirk switches gears with admirable ease, anchoring one of the most purely enjoyable action movies in ages. It’s not quite a case of Nobody does it better, but it’ll do until somebody does.

A perfectly painted portrait that also makes for sharp social commentary, this just goes to show what you can do with a tiny budget but a huge amount of talent.

Full of fascinating behavioural insights and moments that are both hilarious and adorable, this studied treatise on the personality and emotionality of domestic animals should provide plentiful food for thought.

In her directorial debut, Robin Wright boldly strikes out for new territory, but the film is all too conventionally fenced in, lacking a narrative as compelling as its own dramatic Wyoming scenery.

Dream Horse is predictable and manipulative to a fault but, sparked by Toni Collette, there is a strong sense of sincerity and commitment to the subject matter that helps it across the finishing line.

It’s very conventional in form and dances round his famous temper, but Never Give In touches on topics (class, identity) rare in a sports documentary, etching a moving portrait of a man reflecting on his past at a point when his memory is slipping away from him.

Impressive scope, storytelling and sensitivity makes this a fine capture of Irish abortion rights history being made and the beautiful spirit of the campaigners who fought to push their country into the future.

It has its pleasures but after the nuance and emotional hits of Love Is Strange and Little Men, Frankie is a disappointment. Not even la Reine, Isabelle Huppert, can elevate this one.

First Cow is archetypal Kelly Reichardt, slow, small and perfectly formed, elevated by stellar but understated performances from John Magaro and Orion Lee.

What could have been a mere IP cash-in instead becomes an unexpectedly cinematic crime-and-couture romp, delivered with the sort of style, snarl and eccentricity that Cruella herself would likely applaud. She makes being bad look very good.

The Conjuring: The Devil Made Me Do It hits some major horror notes, with Wilson and Farmiga providing much needed heart and soul, but the new Satanic worship elements causes the franchise to take a farcical turn.

Course-correcting to some degree with the return of its most inspired director, Justin Lin’s latest F&F instalment is a little too plastic at times, but back on track.

A low-key treat about rising above the slings and arrows of outrageous fortune, The Dog Who Wouldn’t Be Quiet is something to shout about.

Like a shot of summer holiday straight to the arm, this will have you shimmying out of the cinema and hugging all your neighbours. It’s joyful.

Whisper it. A Quiet Place Part II might lack the smarts and novelty of its predecessor but it serves up strong set- pieces, Millicent Simmonds shines and Krasinski remains a director to watch.

It's no Paddington 2, but Peter Rabbit 2 works well thanks to a mocking sense of self and a strong second half. Once again, Beatrix Potter, it is not.

Billie Piper’s ambitious, darkly funny directorial debut suggests the arrival of a new filmmaker with a vision, verve and a voice.

Pretty cinematography and a committed performance from Amy Adams fail to save The Woman In The Window, a film that aims for Hitchcockian thrills and lands in afternoon TV territory.

Spiral makes an admirable stab at defibrillating an old franchise — but ultimately wastes its stars, caught in the same bear-trap of a formula that befell earlier sequels.

A modest, taut nailbiter. It lets itself down in the final third, but for the most part Oxygen leaves you gasping for air. And Mélanie Laurent, in practically every frame, is terrific.

A lean and mean throwback of a thriller bolstered by excellent performances and first-class filmmaking. Occasionally bites off more than its CG budget can chew, but when director Taylor Sheridan keeps the action grounded, it’s sweaty palms central.

Army Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. When he aims for more emotional territory — like the rather trite guilt-to-redemption arc between Scott and his estranged daughter, played capably by Ella Purnell — we start to feel the weight of that running time.

Not quite a flawless victory, but a solid win all the same. Any future follow-ups would do well to give us an actual Mortal Kombat tournament to enjoy.

Apples is an offbeat treat that manages to embrace ironic distance and emotional weight through a prism of perfectly judged absurdism.

Truman & Tennessee: An Intimate Portrait’s staid approach doesn’t always cohere into a gripping yarn but it is detailed, boasts a real feel for the fiction and, in-between the two men’s rampant viciousness, emerges as undeniably poignant.

It’s not just that Wild Mountain Thyme is bogged down by overripe Irish trappings. It also fails to work on the most basic romcom level — wanting to see a couple get together. Sadly, not even a strong cast can rescue a pot of gold from the end of this rainbow.

Lacking the boldness of originality and substantial character development, The Artist’s Wife nonetheless showcases Olin’s best performance in years and a brittle brilliance from Dern.

The action is sharp and imaginative, and Jordan strongly establishes his action-flick credentials. But story-wise it’s all very familiar and more than a little dour.

It's a credit to Hákonarson's poised execution of his own bare-bones script that both worst- and best- case scenarios seem possible once Inga finds allies in the community.

Nomadland is a Springsteen song in movie form, a beautifully rendered tale of what it means to be disenfranchised in America. Life on the road has never been so tenderly captured, politically alive and profoundly moving.

Both a thrilling, giddy family adventure, and the solidification of a radical new visual language in feature animation.

Love And Monsters is a blast, an unassuming, immensely winning monster movie filled with great lo-fi creatures and a likeable cast. As a template for making a leaner, less bloated summer movie, Hollywood could do a lot worse.

Neil Marshall’s return to his homegrown horror wheelhouse doesn’t reach the heights of Dog Soldiers and The Descent. Instead, it’s a witch-hunt thriller that lacks the texture to be realistic and the no-holds-barred energy to be pulpy. Sean Pertwee has fun though.

A striking debut from a blistering talent. What it lacks in narrative oomph it makes up for in beautiful imagery, natural performances and a worldview all its own.