The reach of this avant-garde comic meltdown sometimes exceeds its grasp, but this is still a consistently jaw-dropping joyride through one man’s terrible, very bad, no good week.

Riper than the ripest of ripe Brie, this crime caper provides a ridiculous vehicle for the talents of pretty much everyone involved, all of whom appear to be having a splendid time. Taken on these terms, viewers probably will too.

Beautifully animated, and about as faithful and affectionate as a corporate cash-in is possible to get — but it still doesn’t come close to the experience of actually playing the games.

A dark action-comedy rather than a spooky gothic picture, Renfield is pitched to please long-time Dracula fans while reminding new generations that this Count was the first and arguably best monster villain in Hollywood horror history.

Standard-issue late-stage Netflix-era Sandler stuff: not exactly good, but goofy and charming in its own boneheaded, stick-it-on-if-there’s-nothing-else-on kind of way.

The long and devastating fallout from a senseless act of violence affects almost everyone in this compelling reality-inspired account, which lingers in the mind in a way that few crime stories do.

A so-so animated adventure that can’t ever find a compelling story to tell despite a few catchy songs and some colourful design. Maybe some dead things should stay buried.

It’s bleak and understated, but strong performances and a thorny moral maze give this considerable power despite the gloomy skies.

Adèle Exarchopoulos excels in this dark, elemental drama. A sensory delight that marks Léa Mysius as a filmmaker to get excited about.

A children’s film for pensioners, 80 For Brady is an absurd, silly mess. But in spite of itself — and thanks to the warm, genuine chemistry of its legendary leading ladies — it is sweet, and difficult to truly begrudge.

A lot more entertaining and irreverent than the film’s grandiose subtitle, “Courting A Legend”, suggests — even if it’s hardly as trailblazing as the man to whom it pays tribute.

A slick, satirical, insane thrill-ride. Come for the twisted concept and blood-soaked barminess, stay for Mia Goth drinking wine straight from the bottle while yelling, “Sucky baby!” at Alexander Skarsgård.

Eyre’s all-star cast may shine in Allelujah, but even Dame Judi Dench can’t save a film whose third act so spectacularly nosedives into “Batshit-Craziest Story Choices Ever Put On Film Hall Of Fame” territory.

Ridiculously charming, immensely funny, and shot with an unusual zestiness, Rye Lane is purely joyful company — and a shot in the arm for future romantic comedies.

The Godfather Part II of on-the-farm slasher-movie prequels, this is an American gothic shocker with a lot to say — and an awards-worthy lead performance from Mia Goth.

While it never quite swims beyond the shallows of its money-minded plot, this fictionalised account of the licensing battle over hit puzzle game Tetris is, for the most part, absorbing and exuberant.

Bigger, weirder, and just about funnier than the first, the second Shazam! remains entertaining despite some tiresome plotting. And who doesn’t want to see Helen Mirren as an all-powerful Greek goddess?

If you’re not up for a film that’s nearly three hours of wall-to-wall fighting, this chapter might get on your wick. That fighting, though, is a bone-crunching, butt-clenching masterclass.

Revelling in its own ridiculousness but finding an emotional core too, this is a wildly entertaining high-fantasy-meets-low comedy. It will leave you prancing your way out of the cinema, lute or no.

An old-fashioned disaster B-movie with a slickly presented sci-fi premise, 65 holds few surprises — but like Adam Driver’s resourceful, humane hero, it gets the job done. More dinosaurs, please, Hollywood!

This documentary feels too stuffed and not insightful enough to be the definitive article — but few skinny-jeans-wearing Millennials will be able to watch without getting nostalgic.

As a subversive take on Milne, it’s achingly banal. As a rural horror film, it’s more inept than the most wretched Wrong Turn sequel. As a would-be cult classic, it commits the ultimate sin of being no fun at all. This bear is sh*t in the woods.

One of the sillier series entries in terms of plot, but still scary enough and funny enough to leave you hoping Ghostface might yet kill again.

Despite a hugely harrowing storyline, Close somehow musters the strength to take care of its audience and leave us with something beautiful and brave. There’s faith in a better future.

Giving the gloves to Michael B. Jordan both in front of and behind the camera leads to satisfying results, and the year of great Jonathan Majors performances continues.

Despite messy plotting and occasional ill focus, fantastic lead performances help The Strays find its way before a knockout ending really carries Martello-White’s eye-catching debut home.

Christopher Landon dials down the blood and dials up the feels for a fun, heartfelt horror-comedy enlivened by David Harbour’s accomplished apparition-acting.

If you’ve never seen Luther, don’t start here. You will be completely lost. Even dedicated fans are likely to be confused by this messy revamp of a story that once felt dangerous but is now merely daft.

It’s a great premise but, over-populated by dull characters and a flat feel, Cocaine Bear is sadly a party animal that never gets started. Not quite a coke zero but close.

If it’s not God-tier level Kore-eda, Broker explores the toughest themes — emotional and physical abandonment — with the gentlest touch. Treat yourself.

A storming debut from writer-director Saim Sadiq: emotional, tender, and quietly radical. With any luck, it will herald a new era for Pakistani cinema.

A likeable cast and colourful depiction of Pakistani (and Pakistani-British) culture makes this look warm and inviting, but the central romance can’t hold our attention as it should.

A totally improbable scenario is hardly rare for a romantic film, but it’s harder to look past when characters are so thinly drawn. Pleasant enough but instantly forgettable.

A by-the-numbers boot camp drama elevated by resonant emotional truth and seen through the revealing lens of all-too-lived experience.

Funny, profound, weird, sad, and gorgeously constructed — Marcel is a true original, liable to melt even the most cynical heart. A very special shell indeed.

Robustly acted by a superb cast and with some beautiful moments, this follow-up to The Father nevertheless feels less mature and less sure of itself.

Quantumania isn’t as wacky as it should be, and the humongous stakes feel oddly small. But where else do you get a wild Jonathan Majors, an intense Michelle Pfeiffer and talking broccoli?

An instantly forgettable, paint-by-numbers romcom, despite the obvious charm of Witherspoon and Kutcher — worthy of watching neither at your place nor mine.

A misguided screwball narrative sacrifices the performances of talented men for clumsy, baggy rom-com tropes. Bring back Pony and all of Mike’s men – or just release a live DVD of London’s best night out instead.

As a dramatic thriller, Sharper isn’t quite as dramatic or thrilling as it could be — but it’s got more than enough Big Bastard Energy to give you a good time.

A remarkable ensemble of performers unite for this combustible, timely chamber-piece that hails the return of Polley as an ambitious and empirical filmmaker.

It isn’t always subtle, but Blue Jean is a gorgeously presented, stirringly performed slice of British queer history that announces director Georgia Oakley and actor Rosy McEwen as major talents to watch.

Alice Diop’s documentarian approach to the courtroom drama is fresh and urgent, consistently commanding attention to the women as they speak and listen. A philosophical discourse delivered with astonishing clarity.

A harrowing, economical thriller that will sit with you for days, this is Shyamalan’s best film in years, and a calling card for Bautista in his strongest performance yet.

A beguiling and often brutal look at the life of a donkey, this hijacks your heart, your mind, your ears and your eyes from start to finish.

Neither a great step forward for fat acceptance nor a damning blow against it, The Whale is best appreciated as a moving, stripped-back character study, with a stunning lead performance.

While its reach may exceed its grasp, any shortcomings of Pathaan are papered over by the sheer charisma of its lead actor, who once again demonstrates why he is one of the most popular movie stars in the world.

With plenty of heart and soul, Devotion is an emotional spectacle, packed with soaring highs and gut-wrenching potency. It's another compelling performance for Jonathan Majors' increasingly impressive resume.

Skinamarink is equal parts frustrating and fascinating. It’s an unsettling Rorschach test with a haunting ending that will settle in the pit of your stomach like a stone. But it can be a polarizing experience that pushes the limits of patience.

A cat always lands on its feet — and Puss In Boots: The Last Wish does so with considerable style, rapier wit, and surprising substance. The sequel nobody saw coming just became must-see cinematic spectacle.

An extremely silly, inconsistently funny, action-packed jaunt, carried by the sheer star power of J-Lo, with strong support from Josh Duhamel and Jennifer Coolidge on top form.

An entertaining thriller that also functions as a character study with a dark side, Emily The Criminal is above all else a spectacular argument for casting Aubrey Plaza in as many off-beat and well-written indie movies as she has the time and inclination to appear in.

An award-worthy performance from the reliably exceptional Andrea Riseborough elevates an affecting portrait of the road to recovery that fails to tread new ground.

It hardly breaks the romcom mould, but You People is funny and thoughtful on how race can still divide a relationship. As the in-laws from hell, meanwhile, Eddie Murphy and Julia Louis-Dreyfus are the undeniable highlights.

More than a glimpse into a photographer’s work, All The Beauty cuts to the bone with its incandescent celebration of life and condemnation of those who threaten it. Art and activism are one and the same.

As that Ronseal title suggests, Plane is rarely on the good side of trash. But at least Gerard Butler and Mike Colter offer some solid action-star appeal.

It may be unevenly paced, but JUNG_E delivers where it matters: propulsive action sequences, emotive drama and grand existential questions about the human connections that sustain us.

An understated but compelling look at coercive control, toxic relationships and healing friendships, with perhaps a career-best performance from Kendrick.

An affecting reflection on the loneliness we will all have to face at our end, held together by Vicky Krieps's poised display of unself-pitying despair and liberating acceptance.

A frustrating but fascinating film, made by an evidently talented filmmaker, which never quite manages to resolve the tensions between its apparent moral purpose and the formal flair with which it depicts events it purports to condemn.

In two-and-a-half hours, a decade of Spielberg’s own life flies by. An autopsy of a marriage and a homage to invention, it’s a bittersweet piece of joy.

Though Cage and Armstrong’s father-daughter dynamic merits praise, The Old Way tries so hard to emulate Westerns past that it squanders a gilt-edged opportunity to do something new.

Mesmerising and mystifying, in equal measure. Enys Men confirms Mark Jenkin as one of the most exciting, original cinematic voices in the UK right now.

TÁR is a masterwork. A gripping, grown-up movie superbly orchestrated by Todd Field and perfectly played by a virtuoso, career-best Cate Blanchett. 158 minutes rarely flies by so quickly.

Carla Simón’s film is a tender peach itself. A lament for a world slipping out of reach is brought invigoratingly to life by a vividly drawn cast of characters.

It doesn’t quite successfully balance its warring tones, but a winningly grumpy performance from Tom Hanks — and a winningly sunny one from Mariana Treviño — ensures for a very watchable take on the ‘giving life another shot’ subgenre.

It’s hard not to get swept up in some evocative, gorgeously staged filmmaking here. But Empire Of Light often seems a little confused about what it is trying to achieve.

There’s just nothing quite like a good crime thriller. But, despite Banderas’ best efforts and some stylish camerawork, this is nothing like a good crime thriller.

Chinonye Chukwu’s restrained approach replaces dramatic fireworks with an absorbing, slow-burning study of a broken woman’s politicisation. She is superbly served by star Danielle Deadwyler, who transforms Till from a good film into a gripping one.

With impressive performances by McGraw and Get Out star Williams, and seamless technology bringing to life the film’s robot havoc-wreaker, M3GAN may be silly but it’s a toy story like no other.

A handsome murder mystery with a neat literary twist and an impressive turn from Harry Melling, but which is overcast by the gloominess of its protagonist and the implausibility of its revelations.

In what could have been a definitive tribute to Whitney Houston’s career, surface-level execution means her story is not quite done justice. But Naomi Ackie's performance shines above everything else.

A brilliant Vicky Krieps performance, ample surprises and a series of playful anachronisms elevate Marie Kreutzer’s period drama about a 19th century Empress above the ordinary. That, and a fine soundtrack to boot.

It might be a minor work from a major filmmaker but François Ozon’s remix of Rainer Werner Fassbinder’s classic has its pleasures, chiefly strong performances across the board, especially from Isabelle Adjani and the immense Denis Ménochet, embodying the German maverick without ever descending into impersonation.

A daring, formally audacious yet messy ode to cinema from one of the most enterprising filmmakers working today. Bravura and baffling in equal measure. Strap in.

James Cameron has surfaced with a cosmic marine epic that only he could make: eccentric, soulful, joyous, dark and very, very blue. Yes, he’s still leagues ahead of the pack.

Some wonderful visual flourishes and two brilliant central performances by Wright and Lawrence help to illuminate the Gibbons sisters’ headspaces. But without important context, true insight and understanding remains elusive.

It’s a simple but artfully effective debut feature from Irish filmmaker Colm Bairéad, with a remarkable, heartbreaking debut performance from Clinch, whose face betrays anxieties she doesn’t yet fully understand.

Though somewhat flawed and less artistically daring than it could be, Charlotte still makes for an emotional, humane viewing experience.

An emotional, incredibly intimate portrait of one man’s final days. Ondi Timoner’s documentary avoids the political aspects of the process, focusing squarely on the personal impact. The result is moving, humane, and cathartic.

A sweetly pitched — and appropriately unorthodox — tribute from a movie megastar son to his filmmaking legend father.

Emancipation can’t avoid the well-trodden hallmarks of slavery stories, nor offer a particularly fresh perspective on them. It’s best when it leans into other modes — and when it centres on Will Smith’s outstanding, understated performance.

Good fun in places, but dull for the most part, Violent Night is serviceable Christmas viewing. It’s a shame, because with such a fun riff on the Santa story, it should’ve been good for goodness sake!

A strange brew. While the family dynamics and capitalist satire work a little better than the outlandish spectacle, White Noise at least appears to herald an ambitious new phase in Noah Baumbach’s career.

Meticulously controlled, but simmering with a tension that is suffused with fury, this treatise on dignity and depravity, aspiration and apathy is the Dardennes at their most accusatory and damning.

A sugar-fuelled thrill, this boasts a fine young cast and pleasantly pantomime adult roles. It may be too long for younger kids, but tweens are going to love it.

No frills are needed to tell this once-in-a-generation story. Any concerns for a film about the unglamorous world of journalism are avoided thanks to sharp performances, sensitive direction, and one irrefutable truth: these women won.

A sweepingly romantic take on the D.H. Lawrence classic that, while not offering anything revolutionary to the period drama genre, is a satisfying and engaging watch.

The ideas don’t always cohesively fall into place, but Diop’s nuanced performance and Jusu’s sublime direction make this a compelling entry in the horror genre.

Fast, fun, and full of freaky creatures, Strange World shows that Disney can do all-out action-adventure just as well as fairytale fare – while, hopefully, nudging the studio further towards the future.

Guillermo del Toro’s perspective runs through every frame of this unique retelling, which isn’t afraid to tackle troubling themes. A sincere, soulful exploration of what it means to be human.

A fizzy, gaudy, joyfully entertaining couple of hours. If there’s any right in the world, Rian Johnson and Daniel Craig will continue making films in the Benoit Blanc Cinematic Universe forever.

Part arthouse-Twilight, part John Hughes-ian coming-of-age romance, part Bonnie And Clyde cannibal remix, part dreamy Wim Wenders-esque road trip. This is gorgeous, gruesome work from Luca Guadagnino.

If you liked Enchanted, this is a dependably familiar serving. In an era where Disney is constantly raiding its archives for intellectual property to remake, this is a sequel that feels unusually original by comparison.

Both a coming of age and an exploration of an era, this self-biographical reminiscence feels both regretful and hopeful – a filmmaker trying to make peace. It’s not sugar-coated, but it’s full of love.

Even if you’re wholly unfamiliar with the franchise, Confess, Fletch will find fans among anyone who likes mystery-comedies, wickedly dry humour, and the sight of Kyle MacLachlan twirling glow-sticks to club music.

Bardo sees director Alejandro González Iñárritu looking at the man in the (hall of) mirrors; the result is visually sensational but sometimes lethally patience-testing.

Rare and special is a film capable of summoning this much poignancy: a feeling which lingers well beyond the film’s final, achingly moving moments on screen. That Aftersun is the debut from British filmmaker Charlotte Wells only adds to its accomplishment.