Firmly establishing Aaron Pierre’s credentials as a thinking man’s Rambo, Rebel Ridge might not be particularly groundbreaking, but this Netflix-and-kill thriller is an undeniably fun night in.

Wolfs has all the practised professionalism of its two anti-heroes, if not quite their spark. But there are few movie stars as straightforwardly enjoyable to watch as Clooney and Pitt.

Starve Acre is sometimes overly derivative as a folk-horror — but Daniel Kokotajlo’s second film crafts a sinister Yorkshire, replete with impressively gnarly special effects and a strong performance from Morfydd Clark.

Page shines bright in an otherwise formulaic story, but this is still a thoughtful, sensitive portrait of a young man coming to terms with his sense of self and the love he deserves.

As sweet and beguiling a musical romance as it’s possible to have between two murderous psychopaths. Its kooky approach won’t suit all stripes of comic-book fan, but it finds a strange, tragic hopefulness all of its own.

Well-intentioned, with a strong performance from Andra Day — but uneven human drama eventually gives way to boringly familiar horror tropes. All round, The Deliverance struggles to deliver.

Brimming with compassion and punctuated by humour, this is a moving look at prison and prisoners. It’s both infuriating and inspirational to see so much beauty in such a harsh environment.

The film is strongest when it remembers it’s a Tim Burton film and has licence to get weird. While it’s slicker and less homemade-feeling than the 1988 vintage, there are still flashes of B-movie brilliance.

A turkey in crow’s clothing.

Despite great performances, stylish filmmaking, and a distinctive personality, Cuckoo emerges as slightly less than the sum of its parts. But it completes the hat-trick on Dan Stevens’ wildest year.

Having the mordant wit and tonal confidence to parlay The Troubles into a punchline, Kneecap has laughs, smarts and verve to spare. Get on board or, as the characters put it, fuck up.

Deeply forgettable and disposable, this is the kind of action-comedy you will feel like you have seen before. But Halle Berry and Mark Wahlberg are good fun, at least.

Paul Feig is mostly back on form with a likeable, frantic, murderous, madcap money-grab of a high-concept comedy. It could be funnier, but it rarely stops for breath.

Alien: Romulus plays the hits, but crucially remembers the ingredients for what makes a good Alien film, and executes them with stunning craft and care. It is, officially, the third-best film in the series.

A seriously effective, incisive thriller which establishes Zoë Kravitz as a bold directorial talent, and shows you a side of Channing Tatum that you’ve never seen before.

Sky Peals builds tension effectively, but stops short of meaningfully engaging with its chosen (and very worthwhile) themes. Still, if it’s a creepy-mood piece you’re after, this fits the bill.

An initially cool premise that goes nowhere interesting as it heads off somewhere else too quickly. Hartnett does his best, but director Shyamalan seems more interested in trying to convince us of his daughter’s pop-star credentials.

This is not a perfect film, but it handles the important stuff — abuse, trauma and recovery — unexpectedly well. If its reception is anything like the book’s, it will be a powerful vessel for people with similar stories of their own.

A botched Guardians wannabe that isn’t half as fun as you’d hope from the punky sci-fi promise of its video-game source material and the presence of Blanchett at the top of the cast list.

This is probably not the film you would expect it to be. But its unexpectedness is its biggest asset, a moving and very eccentric feathered fantasy about life, death and everything in-between.

An awkward mix of gross-out comedy and big emotional sincerity, which may be authentic to the experience of pregnancy but feels clumsily balanced between these two characters.

Though low-stakes for an adventure film, this is nonetheless an engaging, found-family eco-fable that imparts an important conservationist message with considerable, at times impressionistic, style.

The Instigators isn’t exactly revolutionary, but is a good time regardless: an easygoing crime caper offering an excellent cast a fun sandpit in which to snipe at each other.

It’s well-intentioned and manages some nicely judged messaging by the end, but Harold’s mugging and his animal companions’ antics aren’t nearly as cute as the film thinks they are.

Guy Ritchie’s defiantly ahistorical romp is part derring-do spycraft, part bullet-riddled action, part impish comedy, and all-parts silly.

Despite a few early narrative bumps, it’s hard to imagine what more you could want from a movie with this pairing. Marvel has found its mojo again.

Visceral and intensely moving, this film feels like something you’d stumble across on TV in the small hours and never forget. It might herald a new era for queer cinema.

This gentle and intimate coming-of-age drama from beloved playwright Annie Baker is an assured but frustratingly slow-paced directorial debut which evokes the bittersweet nostalgia of ‘90s pre-teen girlhood.

An unorthodox romance that will leave you sweaty-palmed and tearful, in equal measure. It doesn’t quite reach the heights it could, but there’s a hell of a view at the top.

Surprisingly exciting and laugh-out-loud funny, Thelma is a warm-hearted joyride. If anything, it’ll make you really want to pick up the phone and call your own grandma.

Despite some shaky moments, Chuck Chuck Baby is an endearing tale of self-acceptance, wearing its heart fully on its sleeve thanks to the affecting central romance and joyous transformation of its protagonist.

The 4.5 hour-plus runtime might put some off, but that massive canvas only allows for the deepest of deep dives into a monumental achievement in cinematic science-fiction. Another glorious day in the corps!

This is a bold, unusual and gorgeously realised take on the very familiar slasher template — even if it doesn’t quite live up to its innovative promise.

A tale of pelts that pelts along, with more lunacy and creativity than a brace of other films, this film dares to go full beaver. Don’t sleep on it.

A chilling concoction, featuring a remarkable transformation of Nicolas Cage and a reminder of Maika Monroe’s star quality. Submit to its demonic darkness for a singular, sensory cinematic horror experience.

With Edgar-Jones and Powell’s fizzing appeal at its epicentre, Twisters at once feels like a testament to a new generation of stars and a gripping old-school movie event. Fear it. Watch it.

Greg Berlanti’s revisionist comedy offers a fresh take on the Apollo 11 moon landing, but its convoluted conspiracy fails to capitalise on the charms of Johansson and Tatum’s workplace romance.

Kill lives up to its name, and then some: this is a breathless, ferociously gory action film, on a level rarely seen before in Indian cinema.

A compelling if formulaic star-crossed lovers’ narrative. Come for a wordless seduction, stay for the complexities of parenthood, drag queens and family loyalties that deserve more of your time.

It looks fantastic, Gru is still loveable, and smaller viewers will be engaged enough. But Despicable Me 4 stalls in its overstuffed plot and its lack of an interesting narrative.

It purports to celebrate the pursuit of science, but this film may have single-handedly set the space programme back a decade.

All involved have done a solid job in executing what most fans likely want from a very belated Beverly Hills Cop sequel. This is not an action movie with the slickness or invention to take on any current blockbuster franchise. It’s cheerfully old-fashioned and easy. It feels like you should be popping open a VHS case to watch it.

Not even Nicole Kidman playing off Kathy Bates — or Zac Efron singing Cher's Believe — are enough to save what should have been a surefire hit from Hallmark musings and tired clichés.

The female-first vibe is refreshing but Something In The Water is something old, nothing new, a lot that is borrowed and an eyeful of twinkly blue.

A solid A Quiet Place entry is elevated by Lupita Nyong’o and Joseph Quinn’s affecting performances — a surprisingly tender tale of the end of days.

Capping an unusual trilogy, MaXXXine is an intense woman-fights-back thriller. Mia Goth’s Maxine is what you’d get if the Robert De Niro and Jodie Foster of Taxi Driver were fused in the telepod from The Fly.

A thoughtful, affecting debut feature from Tremblay that puts a necessary spotlight on Indigenous peoples — featuring another exceptional performance from Lily Gladstone.

Another humane, odd and highly accomplished Yorgos Lanthimos film, one that sees him returning to the tone of his earlier work after The Favourite and Poor Things.

An unremarkable and quickly forgettable B-movie. Jessica Alba makes a decent stab for John Wick’s particular brand of movie vengeance, but she needs better material than this.

There’s a wobble about how committed this is to being a scary movie rather than an inside Hollywood drama, but — like Exorcist III — it springs one great lunge-out-of-an-unexpected-corner-of-the-frame jump scare.

Out front and backstage, this illuminating but not quite revelatory documentary shows a vulnerable, exhausted Blur and the band at their best. Interesting to casual fans, essential for devotees.

More of a slow burn than a thrill-ride, this study of bygone motorhead mentality at its most visceral and violent is gorgeously shot — but only nicks the surface.

A solid shark thriller whose admirable but clunky eco-warnings almost get in the way of a good time. Best when it allows itself to really go in-Seine.

It’s not the fault of either star, but the half-baked script makes this an unsatisfyingly thin exploration of the weighty themes it seeks to cover. More intellectual cut-and-thrust and fewer flashbacks would have helped.

More solid Prime Video Sports Doc than Subject-Transcending Asif Kapadia Investigation, Twelve Final Days is nonetheless an entertaining, occasionally illuminating and at times surprisingly moving look at the final bow of a genuine tennis legend.

It’s all a little too lightweight, and not above corniness and sentimentality, but it does earn its little emotional breakthroughs, modest as they are. And the sense of time and place is vivid.

Though things go off the rails in the third act, Arcadian’s intriguing premise and inspired monster design pack plenty of scares into this post-apocalyptic fable.

It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.

A devastating, urgent reminder that art can be dangerous and important and political and powerful — especially in ten-inch heels.

Through this decade so far, Pixar’s films have held great ideas that haven’t quite reached their full potential. This is probably its best film since Coco, and best sequel since Toy Story 3.

Sasquatch Sunset is a gloriously vulgar film about made-up monsters from children’s stories — but it is also a terribly melancholy adult story about the violence of progress. What a remarkable, unique, sad little cult oddity it is.

A Western that hits many of the expected beats but which does so in an unexpected manner, being centred on a tender, loving relationship rather than gunplay and grit.

Fanning brings her A-game and there’s enough mystery about the monsters in the woods to string audiences along until the satisfyingly weird finish. As mid-list horror goes, perfectly fine.

Scruffy and overstuffed, but contagiously good-natured. And frankly more films need to feature showdowns at abandoned alligator-themed amusement parks.

Ron Howard’s genial account of the legendary Muppeteer plays it safe, with a fairly traditional documentary-making approach — but it still manages to be adequately inspirational, celebrational and, yes, even Muppetational.

Eschewing the linear approach, this erratic documentary occasionally drifts a little too close to self-indulgence. But it’s also a frank, funny and disarmingly deep portrait of a true screen legend.

It’s long and sometimes gets swept astray by currents of family drama and period detail, but Ridley’s plucky determination and can-do energy carries the whole thing along. The result is an old-fashioned inspirational pleasure.

Though it takes too long to get into the swing of things, Sting delivers faint echoes of the B-movie classic it wants to be, offering a memorable foe in a giant, bloodthirsty spider.

By putting technology on trial as the chief parasite causing modern malaise, but fusing it with a melodrama about love, Bonello has created a wholly original work that pulses with prescience.

Lopez throws everything at this, but even major movie-star charisma can’t make up for the recycled story elements, tired exposition and endless psycho-babble. Maybe the machines can take over and do better.

This latest attempt to adapt the world’s laziest cat for the big screen just feels plain lazy: pure kids’-movie-by-numbers. The cinematic equivalent of a Monday.

Glen Powell achieves certified movie-star status and Adria Arjona shines in this slick, seductive romantic thriller. Don’t let it get buried in your Netflix watch list.

Luna Carmoon’s grimy study of loss might ultimately be too strange for its own good. Nevertheless, this debut boldly announces the arrival of one of Britain’s most promising new filmmakers.

Far from perfect in its execution, but once IF hits its stride, Reynolds and Fleming keep this emotional adventure entertaining enough.

The chassis may look familiar but there is a very different engine driving Furiosa from that of Fury Road: it’s a rich, sprawling epic that only strengthens and deepens the Max-mythology. It shall ride eternal!

Tarot is a personality-less horror that doesn’t overly concern itself with either character or plot. It’s here to deliver one thing and one thing only: cool kills.

Enigmatic, absorbing and so much more alive than any pottery behind glass in a museum, this is an exquisitely crafted, grown-up Indiana Jones steeped in its own distinctive magic.

It's less action-heavy than the last trilogy and inevitably more ape-centric, but this is a promisingly chewy start for the latest series of simian thrillers. These apes are still strong.

If Pop-Tarts are barely a breakfast, Unfrosted is barely a movie — but it’s sprinkled with solid gags, stuffed with super-silly guest appearances, and lovingly glazed in sweet ’60s trappings.

Deceptively courageous and perceptive on parasocial celebrity culture — and on the fallacy that women have expiration dates — The Idea Of You has good, clean fun with two characters it’s impossible not to love.

With some incredible stunts and Gosling and Blunt on top form, this gloriously entertaining comedy is a love-letter to the unsung heroes of cinema.

Seize Them! turns the Dark Ages into the daft ages, delivering a mostly entertaining, female-centred comedy enlivened by winning performances.

Despite a valiant effort from Justice Smith, the satire in The American Society of Magical Negroes feels aimless, scattered across a story that struggles to pick a meaningful direction.

The performances are solid and the story is touching — and perhaps that will carry this to its chosen audience. But it's a little flat for true drama.

Despite some fun action excess and an impressively committed performance from Bill Skarsgård, Boy Kills World is a muddled, tiring mess, favouring violent shocks over cohesive storytelling.

Hugely affecting and perfectly played, Nowhere Special is a peach of a picture.

Kidnapped is an expertly paced, gorgeously shot and evocative true story of faith, family, and the power of people coming together to right deeply ingrained wrongs.

Tense and occasionally disturbing, but somehow you’re left with the nagging suspicion that what should have been a meaty psychological drama has been turned into a slightly insipid thriller instead.

A solid, old-fashioned Irish Western about what it means to hang up your rifle. It isn’t especially deep, but it’s good to see Liam Neeson find some character depth among the usual shooting and grumbling.

With a cast this talented there will always be decent moments, but they never cohere. Credit for its casting and design, but it’s not the movie messiah, just a very disappointing mess.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Tossing a malicious vampire kid among squabbling, not-exactly-un-dangerous humans is a recipe for a wickedly enjoyable thrill ride. One of the messiest vampire movies ever made, and winningly so.

A beautiful, subdued Daisy Ridley performance anchors a story that is underplayed to the point of almost non-existence. Still, if you’re tired of blockbuster bombast, this could be the antidote.

Operating at the peak of his powers, Luca Guadagnino has the time of his life with this practically sadistic exploration of unrelenting obsession. It is horny, it is hungry, it is phenomenally exciting filmmaking.

A deceptively simple tale with a lot to say, Drift lingers long, thanks largely to a mesmerising performance from Cynthia Erivo.

A solid performance let down by a script that cherry-picks the facts and ultimately tells us less than we already know. Watch Asif Kapadia’s Amy instead.

For veteran viewers who’ve seen it all before, it’s not exactly the Second Coming. But novice nunsploitation audiences might find this habit-forming: a stylish enough entry-level initiation.

Scoop is not quite the prince that was promised. But there are some gripping moments, and some extraordinary performances — especially from Sewell and Piper.