As a political statement, Civil War is provocative and occasionally exasperating; as a purely cinematic experience, it is urgent, heart-in-mouth, extraordinary stuff.

Visceral and heady, this is a blood-soaked, all-American fable that’s as if Thelma And Louise literally went on steroids. Rose Glass is a force to be reckoned with.

Stylish, high-energy, smart and eye-wateringly violent. There are quibbles, for sure, but where it counts, Monkey Man goes bananas in the best possible way.

Sophisticated, adult thrillers are few and far between, and Mothers’ Instinct fills the void admirably. With vivid, striking imagery and top-notch production design, the film paints an exciting, moreish portrait of psychological intrigue.

A smart, original approach makes this much more than just another Exorcist wannabe. You’ll sense that there are horrors coming, but you still won’t quite feel ready.

Immaculate has the look of something as lightly spooky as the Nun films, but is prepared to go a lot further — abetted by a committed lead performance — than your average haunted convent picture.

There was potential here, but Frozen Empire is an overpopulated mish-mash, with too many heroes to wrangle. What’s left is a bit of a gooey mess. We’ve been slimed.

Who needs humans? This is visual storytelling at its finest, a traditional animation of gentle, unshowy genius. Sometimes the very best love stories go deeper than words can say.

A bit of an odd one, an action-comedy throwback that doesn’t quite know what it wants to be. Still, it bodes well for Pierce Brosnan’s new phase as a grey-haired action star.

As with a number of arthouse films, the ending leaves something to be desired. But, courtesy of its meticulously mundane digital imagery, this is a film of precise details that sketches an outline of existence and then leaves it to the audience to draw their own conclusions.

As a fairy-tale romantic rendering of Ireland, Irish Wish is almost offensively bad; as another rung on the ladder for Lindsay Lohan romcom supremacy, it is almost, somehow, beyond reproach.

A gentle, odd little Australian fable. Warwick Thornton’s film has a lot of thoughts to process, and while they don’t always cohere, the performances from Blanchett and Reid keep it interesting.

Monster is Hirokazu Kore-eda channelling Christopher Nolan: twisty storytelling in the service of wise empathy. There is no judgement in Kore-eda’s worldview, just human behaviour in all its glorious complexity.

Not a total catastrophe, but perilously close to being one. Is it too obvious to say Imaginary is simply lacking in imagination?

Expertly handled by director Doug Liman, wittily scripted, and boasting a wonderfully original take on the action hero archetype, this new Road House is a total riot.

Despite John Cena’s best efforts, Ricky Stanicky is a comedy that delivers nothing but tedium, wasting a clever idea by repeating the same jokes over and over.

Too childish and shallow for adults, yet too brutal and gory for kids, this is one Damsel that really does need saving, after all.

A step back from the last film in terms of ambition, this nevertheless continues the series’ chirpy, amiable mood. Nothing to be po-faced about here.

DuVernay’s sweeping odyssey is an ambitious (if sometimes messy) spectacle. At its best, it holds a poignant power that provides plenty of food for thought — enough to linger long after the credits roll.

Atmospheric and chilling, Out Of Darkness doesn’t reinvent the wheel, but adds some thoughtful twists to a well-worn genre. It’s an intriguing sign of things to come from a new filmmaking voice.

Come for the wise alien spider, stay for Adam Sandler at his sombre best in this strange, heartfelt sci-fi drama. Here’s hoping he continues to push himself to new highs.

As furiously funny as it is helplessly horny, this lesbian road movie simultaneously feels exactly like a Coen brothers film — and entirely its own thing, too.

Another epic helping of sci-fi wildness from Denis Villeneuve that’ll take true believers to paradise — even if it’s a bit too much Spice to digest in one sitting.

Repetitive insults do most of the heavy lifting for this comedy, but any time spent with actors as skilled as Colman and Buckley is time enjoyably spent.

In a film that could have bowed to easy clichés, Chastain and Sarsgaard are a class act — their touching, tactile chemistry is the film’s triumph.

Zen and the art of toilet cleaning? You’d better believe it. This is as gentle as it gets — a humble little film, maybe, but an enriching one. It’s a soul-cleanse.

Dramatically, this may seem slight. But bounteous pleasures lie in the intimacy of the acting and in the exquisite cinematic and culinary craftmanship on display.

Madame Web isn’t much worse than the rest of the SPUMC, give or take, but it’s not really better, either. Its minimal saving grace is that it doesn’t require much familiarity with the wider universe.

This is a garish, frequently insane, diamond-encrusted fantasy trip into the mind of a superstar, and we should be grateful to have even limited access.

A watchable, if by-the-book, documentary. It’s only a pity that the conventional storytelling hems in such a deeply unconventional director.

While it can be a lot to take in, Occupied City is a poignant sociological portrait. Through the history of one space, it studies how fascism pushes people out of spaces  — but is also hopeful on resilience, solidarity and resistance.

A simple but effective study of a vital activist voice, this documentary is a powerful force for change.

A by-the-numbers biography, this sheds little new light on an icon but features a soaring performance from Kingsley Ben-Adir.

These teens may be a bit messy (who isn’t?) but it’s a joy to have Diablo Cody back to telegraph a new kind of adolescent horror, with a smile full of teeth.

Fighter delivers exactly what you’d expect from an Indian military blockbuster – excitement, passion and a level of patriotism that’s equivalent to being repeatedly punched in the face with the Indian tricolour.

Some rather rough animation brings down the otherwise exhilarating Blue Giant, which, in its best moments, transforms jazz music into an otherworldly sensory adventure.

Flashy, fun and light on its feet, Argylle papers over its cracks with twist upon twist — and charming performances from its central duo.

It’s always nice to see Illumination outside of its Minions comfort zone, but Migration is mostly generic. A bit of a flightless bird.

Elegantly walking a line between absurdist satire and family drama, this is a clever send-up of how the broadness of Black culture gets reduced to cliché.

A striking, unforgettable exercise in absence, this is about what we don’t see — and what we choose not to see. The horror is unseen but underlying, and all the more arresting because of it.

It might look at first glance like another goofy CG distraction-fest, but this is that rare family-friendly film bursting with ideas and challenging concepts. It’s Charlie Kaufman’s introspective existential dread — for kids!

A sanitised version of Spielberg’s film, let alone Walker’s novel. But bravura musical sequences and a top-notch cast ensure smiles and tears come the end credits.

An eerie, beautifully executed study of duty, grief and wrestling, boasting an excellent cast, and a leap forward for its director. A heavyweight collective has just entered the ring.

It’s hard to think of another recent drama that feels so brazenly personal, so yearning, so naked and vulnerable. It feels like forgiveness, for Haigh himself, and maybe for others. He’s letting it all out. These characters are a lifeline for him, too.

Prettily shot and with moments of emotional power thanks to Jodie Comer’s performance, The End We Start From is involving and unpredictable, yet strangely cold when it should be searing.

Not as revolutionary as Children Of Men, nor as wild as Attack The Block, The Kitchen is still solid British sci-fi with a social-realist flavour. An auspicious directorial debut from Tavares and Kaluuya.

The only film you’ll see this year with a limbless torso playing drums with animated entrails, this wickedly witty take on the seamy side of creative ambition is well worth a spin.

It’s unexceptionally filmed and occasionally clunky, but this is a gently heart-warming underdog story, and Turner shows real star-power in the lead role.

By stifling Hart’s seasoned comedy-fuelled charisma, this overly stylised crime caper is a turbulent ride. Stay for Mbatha-Raw’s righteous action skills, which should propel her to bigger and bolder things.

Not the reunion between Lau and Leung that fans might have been craving, nor the decadent deep-dive into Hong Kong’s boom-time that the film could and should have been.

Sharp, funny and strongest when it stands on its own two perfectly manicured feet, this snappy musical successfully updates the original Mean Girls template for a fresh audience.

Statham is as gruffly convincing as he usually is (though it’s 20 minutes before he’s even allowed to kick any ass), but the action scenes are horribly inconsistent: fine in the hand-to-hand stuff, sloppy elsewhere.

It’s never quite as satisfying an experience as Schitt’s Creek — but thanks especially to a sparky trio of actors, Daniel Levy’s directorial debut is strong when it comes to the heartache of grief and the importance of friends.

John Woo’s first American film in 20 years is not the filmmaker at his peak — but it has its moments, with energetically filmed action enough to distract from a melodramatic tone and sometimes silly concept.

Last-act let-down aside, this is a confident and creepy ghoul-in-the-pool horror that makes Bryce McGuire a filmmaker to watch. Wusses, bring armbands.

The obvious chemistry and charm of Sydney Sweeney and Glen Powell counts for a lot, yet not quite enough, in a romantic comedy severely lacking in both romance and comedy.

Despite a charismatic turn from Momoa and some fun frenemy banter, this is a disappointing send-off that sees the DCEU go out with a squelch rather than a splash. Fin.

A comic thriller that isn’t especially funny or particularly exciting, The Family Plan is an overlong slog that struggles to make use of its game cast.

The over-familiar story-beats and safe execution stop this from reaching its full potential — but Hopkins and Flynn shine, providing a moving portrayal of Winton’s life.

With its woozy aesthetic and dynamic, beguiling cast, Priscilla is textbook Sofia Coppola: not breaking the mould, but a sublime continuation of her sad-girl sensibilities.

A surprisingly staid biopic of Ferrari’s venerable originator. In unpacking motorsport’s greatest legacy, it gets bogged down in a dull relationship drama — but the racing sequences are thrillingly visceral.

A viscerally rendered plane crash gives way to an affecting story of humanity and survival. Bayona is on impressive form here.

Waititi’s shtick runs thin, and there are badly misguided moments, but this is still a warm, heart-mostly-in-the-right-place portrait of a momentously poor sports team.

Merry Little Batman has every potential to become a new festive favourite: a delightful Bat-gift that will have viewers longing for future holiday specials featuring Little Batman.

Despite some cool action sequences and interesting aliens, the first Rebel Moon instalment is a disjointed ride through an under-realised universe.

The set-up is not as elegant as that of the first film, so this feels more forced and the humour more familiar. Still, the performances are winning and the setting appropriately seasonal, so it might do for the holidays.

Absolutely batshit, utterly filthy and a true original: Poor Things is as good as Yorgos Lanthimos and Emma Stone have ever been.

Hunham’s hero Marcus Aurelius once wrote, “Give thyself leisure to learn some good thing.” Take his advice and see this film.

Don’t call it a comeback — or another retirement. Do call it an astonishing, sumptuous animated fantasy featuring everything you love about one of the greatest filmmakers of all time.

A starry trio and suspenseful filmmaking can’t save this apocalyptic thriller from collapsing on itself.

Sometimes cheap but largely cheerful, this is a fun stocking-filler for horror fans — with plenty of heart to pump all that blood.

Renaissance: A Film By Beyoncé achieves total Beyhem, a riot of colour, spectacle, inventive staging, stunning vocals and gorgeous grooves. As a self-portrait, it might not delve as deep as you’d like, but it offers a thrilling lesson in what it takes to be a pop icon.

Silly, witty, extremely British — this is a family film made with a very Aardman-y kind of craft and care. A good egg.

It may not scale the heights of his Paddington duo, but Paul King’s Wonka is a beguiling way to spend 116 minutes, perfectly anchored by Chalamet’s benevolent dandy. All together now: Oompa Loompa, doompety doo…

Drolly scripted, impeccably designed and photographed, and played to succinct perfection, this may only be a slender drama, but it's also a cherishable summation of what makes Aki Kaurismäki special.

George MacKay and Nathan Stewart-Jarrett utterly thrill in this sexually charged, suspense-filled watch. Don’t let this one pass you by.

A refreshingly humanist and nostalgic reboot of the iconic monster franchise, Takashi Yamazaki’s Godzilla Minus One takes the atomic lizard back to his post-war roots, while making the most of the director’s background in animation and VFX direction through convincing, tactile and classic design work.

Brilliant in Prada, as a princess and now as a prison psychiatrist, Anne Hathaway brightens this limp genre exercise that mistakenly prioritises B-movie thrills over more nuanced character interplay.

This unholy concoction of ideas is unlikely to become a seasonal staple, but sift through the nonsense and there’s a surprising amount to enjoy in this bonkers Noel nightmare.

If you loved D’Artagnan, you won’t be let down by Milady. If you’ve not seen D’Artagnan, then get ready to enjoy the year’s best non-Barbenheinmer double bill.

Moving and musical, this is a striking portrait of courage and creativity in the face of some horrific odds chucked at you by life’s lottery.

Critiquing the very thing it also sets out to do, Genie is the movie equivalent of a dog chasing its own tail, but is (barely) saved from the wrapping-paper pile by the amiable chemistry of its stars.

Fun, warm, but meandering and too-long, Leo is an animated adventure with kindness and celebrating individuality on its mind – and is a great showcase for Sandler’s voice talents.

This welcome spotlight on a lesser-known civil rights hero doesn’t escape the usual biopic clichés — but Colman Domingo’s impressive, deeply layered performance does this corner of history justice.

A metafictional work elevated into something new: deeply felt and true as a story about parental enigma, spectral remembrance and ingrained British repression.

Maestro never truly gets under its subject’s skin, but it’s mightily impressive, full of brilliant filmmaking, many memorable scenes and a superb Carey Mulligan walking away with the entire movie.

The ingredients are absolutely familiar, but what makes the whole recipe satisfying is the sheer amount of gruesome fun Roth manages to have with the concept. Don’t go in expecting characters you’ll care about — just enjoy the stalk/slash/slice/bake terror on offer.

This might not be the venerable animation house at its very best, but it is a reminder of why they have endured for so long. Why change a formula when it’s a winning one?

Scott's take on Napoleon is distinctively deadpan: a funny, idiosyncratic close-up of the man, rather than a broader, all-encompassing account.

Surface-level funny but with a well of deeper meaning brewing, May December is not just a skilful satire of suburban propriety; it’s a unique and uncanny affair about the nature of performance itself.

Fennell’s second feature is both evocative and provocative, with lashings of style but questionable substance. It doesn’t stick the landing, but the ride right before the nosedive is a properly enjoyable one.

A moving and surprisingly nuanced drama offering far more than flag-waving nostalgia. Superb performances from Michael Caine and Glenda Jackson ensure the latter’s final screen role is fittingly dignified.

It might follow a linear storytelling path a little too strictly, but Sylvester Stallone is a bracingly honest documentary subject, and fans in particular will take much from this look at a life and career well lived.

It has a few laughs and some stylish outfits, but this is unfortunately a shallow prequel, one which fails to breathe new life into the Hunger Games franchise.

Surprisingly gripping for a film devoid of real action, this family drama masquerading as a murder-mystery touches on universal marital tensions; it is both enigmatic and very human.

Silly, strange, and very funny, Dream Scenario is a psycho-comic-drama with a peak Cage Renaissance performance powering it. Don’t sleep on it.

It might not have the overwhelming impact of an Endgame or even a Guardians 3, but this is the MCU back on fast, funny form.

A classic American sports movie, with all of its triumphs and clichés — kept afloat by two brilliant, warm lead performances from Annette Bening and Jodie Foster.