Amped up for the big screen while maintaining its sense of heart and with lashings of charm and gentle comedy, Bob’s Burgers proves more than worthy of the feature treatment.

Despite the nobility of its intentions and commitment of its cast, this would-be treatise on gig economical iniquity winds up patronising the very ‘invisible people' it's supposed to be championing.

Part thriller, part character study, Cordelia is eerie and atmospheric, putting you in the fractured headspace of its desperate lead. An impressive dual achievement from co-writer/star Antonia Campbell-Hughes.

An effective and unsettling allegory for growing up, this is the kind of low-key horror that will make you look twice at cherub-faced youngsters.

Far from a puff piece, a no-holds-barred, melancholy, often surprising examination of Norway’s most famous — and underrated — musical export. A must for fans — but prepare to brace.

Another diagnosis of the sickness of an over-armed, money-guzzling police force, Emergency sometimes struggles to combine its cinematic form with its messaging. But there are just enough moments where it all comes together to make it feel like worthwhile viewing.

Benediction finds both sorrow and hilariously withering wit in the eventful 
life of a famed wartime poet, offering some of the sharpest, nimblest dialogue of writer-director Terence Davies’ estimable career.

Reminiscent of The Happytime Murders but actually watchable, this zippy, highly amiable rodent noir turns out to be 
a delightful surprise. It flings a lot of ideas at the screen — and most of them stick.

Only a thrilling throwback synth score from John Carpenter keeps this inferior, modernised take on Firestarter off the lower end of a list of Stephen King adaptations.

Strong performances carry this unyielding portrait of dementia and elderly suffering that marks an interesting shift for Noé, but its relentless efforts to inflict sorrow and pain can feel overdone.

Mark Wahlberg is convincing and committed as a foul-mouthed Father, but this is ultimately just religious propaganda — preaching exclusively to the converted.

Avoiding the danger zone of mere retread, Kosinski and co deliver all the Top Gun feels and then some: slick visuals, crew camaraderie, thrilling aerial action, a surprising emotional wallop and, in Tom Cruise, a magnetic movie-star performance as comforting as an old leather jacket. Punching the air is mandatory.

Musically sublime, gracefully directed, and filled with an inspiring optimism that couldn’t be more timely, this is another first-class exercise in capturing music on film from Dominik, Cave and Ellis.

A pure firework display of technical bravado, wild invention, emotional storytelling, comedic genius, action mastery and outstanding performances, Everything Everywhere All At Once is everything cinema was invented for.

It follows the rules of the genre as unwaveringly as its hero follows orders, but despite that, there’s a tense, tightly constructed thriller here — and Chris Pine makes a decent play as a neo-Bourne.

Alex Garland once again shows an unmatched ability to conjure a beautifully uneasy atmosphere, the sense of which lingers on past the closing credits — but the substance underneath doesn’t quite connect.

Marvel's most deranged and energetic movie yet, as much of a winning comeback for director Sam Raimi as it is a mega-budget exercise in universal stakes-raising.

Casablanca Beats hits a lot of clichés on the educational-drama cue sheet, but still manages to find bracing new variations on the formula. The lesson plan is familiar, but it’s still worth attending this school of rap.

Soapy it may be, but for those who’ve poshed it up with the Crawleys since the very start, this is an affectionate, escapist hug of a movie — like being wrapped in a doily.

A claustrophobic portrait of pre-adolescent turmoil, this is an exceptionally taut drama. It’s Wandel’s debut feature, and it feels like she’s been preparing for it her whole life.

More than a biopic or period-piece, this is a stylish time capsule reaching into the present with unnerving clarity. Abortion care is still so hard — this film makes that fact sink into your bones.

A big, silly, scrappy bundle of fun, packed with Cage-related Easter eggs and in-jokes, but also a whole lotta heart.

A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal.

A remarkable, first-hand insight into how a modern-day police state operates, and how any kind of meaningful opposition can exist — as terrifying as it is hopeful.

Though occasionally undone by its Sunday-teatime tendencies, this is a spirited and gently entertaining slice of wartime espionage, with sharp, wry performances from the ensemble cast.

Sandra Bullock and Channing Tatum make a sweet and spiky couple in this likeable caper. It’s never going to challenge The African Queen for quality, but it offers 
a consistently good time.

A funny, filthy, iconoclastic riot. Paul Verhoeven’s latest erotic satire won’t be for all creeds, but it is bursting with enough ideas that even doubters can find something to believe in here.

This is intimate, culturally rich storytelling on a brutally epic scale. Skarsgård is in his element, bolstered by a sensational cast throwing themselves headfirst into Eggers and Sjón’s awe-inspiring vision. A cinematic saga worthy of the ancestors.

This unconventional love story — which plays like a Richard Linklater film set in the Arctic circle — is a total charmer, and will have you reaching for an Interrail ticket immediately afterwards.

A smart, compelling, pared-down thriller for grown-ups, anchored by a pair of stunningly charming performances from Chris Pine and Thandiwe Newton.

The Outfit follows a pattern set by countless gangster flicks of the past, but its freshness is in the intelligence and surprise of the script. Like a well-made suit, it’s not old-fashioned — it’s classic.

Showing how paradise can be hell, this audiovisual treat is spiritedly played by its leads and bristles with a brooding menace that can't quite disguise the story's essentially melodramatic nature.

The Secrets Of Dumbledore doesn’t quite cast a Potter-like spell — but with solid action and moments of genuine heart, it delivers a little light in the Wizarding World’s darkest hour.

Judd Apatow’s broadest film yet is a patchy collection of Covid-themed comedy cock-ups — but a talented ensemble of performers means you’re never too far away from your next laugh.

Despite solid performances and flashes of promise, Morbius is a flat, forgettable affair, failing to deliver an anti-hero origin story we can really sink our teeth into.

With some gorgeously stylised animation and sharp comedy making up for its somewhat lightweight storytelling, The Bad Guys is... not bad.

Günther executes stray powerful moments, but his lack of a handle on the material leads to two hours so meandering that the story drifts away in a haze of boredom.

A dreamlike time capsule of a historic event, told from a kid’s perspective and rendered in beautiful animation — only Richard Linklater could have made this film.

It says little that is new and lacks heat, but Wilson and Burke inhabit a compelling mismatched couple, with Wootliff finding cinematic ways to get under their skin. A flawed but admirable attempt to take the temperature of a dark, modern relationship.

This is simply more fairly generic and forgettable family fodder.

Michael Bay’s tribute to the emergency services (which involves blowing several of them up) is noisy, messy and frequently absurd — yet still somehow his most gleefully entertaining effort in at least a decade.

The Spine Of Night is here to satiate the cravings of those who miss a particular brand of animated storytelling, updated with added psychedelic fervour and plenty of extra-gnarly bloodshed.

A truthful, tender masterpiece about how coming of age has no age-limit — love, for others and for ourselves, is what makes every risk and loss worthwhile. Rarely has a story like this been told as beautifully.

Well-performed, especially by Regina Hall, and directed with real flair and intention by Mariama Diallo, Master transcends its two-dimensional opening to become a complex, character-driven horror with much on its mind.

Though its core concept is executed well, Black Crab’s dour tone, shallow writing and derivative plot-beats make for a movie experience that leaves you as cold as the ice its characters are forced to skate on.

Short, sharp and mostly satisfying, this is a thriller that sticks to the stripped-back fundamentals of the genre — no more, no less.

Hive cooks up a beautifully delicate rally for independence and justice, brought out through precise processes of the communal culinary experience. Although not entirely well balanced, it makes for nourishing, inspiring viewing.

Sharply written, beautifully shot, but confusingly paced, Paris, 13th District is an enjoyable if forgettable snapshot of modern love and relationships.

It’s as subtle as a sledgehammer, but Fresh’s audacious storytelling, full-throated performances and accomplished direction make for a tasty, wildly entertaining concoction. Deliciously deranged stuff from Mimi Cave and writer Lauryn Kahn.

Filmed over 13 days in Tuscany and based on genuine Balkan Route testimony, this is an innovative, immersive insight into the migration crisis that also reveals much about human depravity.

What The Phantom Of The Open lacks in ambition or dramatic oomph, it makes up for in easy-going appeal. Anchored by an impish Mark Rylance, it takes its cue from the story’s hero: a bit ramshackle, very amiable, always watchable.

West’s frightfilms are playful — a stereotype is inverted as guys wander half-naked to their doom like stereotypical slasher starlets — but run to serious scares. X is a properly satisfying shocker.

Despite his erotic thriller credentials, Lyne makes a tepid return to the director’s chair with a rather basic adaptation of an intriguing marital character study that Affleck struggles to enliven.

Though a forgettable villain and some uninspiring set-pieces sometimes hinder The Adam Project, Reynolds and Scobell’s cracking performances and the film’s surprising emotional depth make it worth a look.

A beguiling and beautiful film about a total toerag, Red Rocket is a unique character study: Mikey Saber will charm your socks off, and you’ll hate him for it.

A daring, distinctive and downright delightful debut from Domee Shi, and a welcome change of pace from Pixar. Turning Red is, appropriately, its own beast — and one that’s easy to love.

A compassionate and tenderly performed love story, with a musical current coursing through it. British cinema is lucky to have Clio Barnard.

Bruising and beautiful in equal measures, La Mif is an impressive slice of social realist drama that feels rooted in something real — because it is.

Matt Reeves’ arrival in the Bat-verse is a gripping, beautifully shot, neo-noir take on an age-old character. Though not a totally radical refit of the Nolan/Snyder era, it establishes a Gotham City we would keenly want a return visit to.

Amiably silly and impressively gory, this lives up to both its low-budget inspirations and its rocker stars.

The kind of heist movie that will steal your affections from under your nose. An Ealing-esque comedy with its heart exactly in the right place, it proves a fitting farewell for the multitalented director, Roger Michell.

Joe Wright brings fun and imagination to an oft-told tale, even if the story beats offer few surprises. Still worth seeing for a compelling Peter Dinklage turn.

Its title might be near-identical, but this legacy sequel is everything the original wasn’t — pleasantly gory, but light on atmosphere and really, really stupid.

In its search for the personality behind the creator of one of cinema’s most famous comic characters, The Real Charlie Chaplin too often lapses into dreary convention, despite flashes of brilliance in its use of archive footage.

More predictable than shaggy, Dog is more interesting than the standard man-mutt buddy movie but still never really pulls the heartstrings. What it lacks in urgency and emotion, Tatum more than makes up for in movie-star wattage.

By turns impressive and oppressive, Petrov’s Flu combines technical razzle-dazzle with obtuse storytelling. Bravura and baffling in equal measure.

It’s not trying to reinvent the romcom wheel, and its final bow could be predicted by anyone with half a brain — but I Want You Back is sweeter and more sensitive than you might expect from this kind of broad mainstream romp.

A film based on a game inspired by films that are much better than this one, Uncharted is watchable enough but could have been so much better.

It’s a fun premise, one that this treats seriously, but it never quite reaches the highest levels of the genre.

An extraordinary blend of personal reflection and inspired craft, Flee is a harrowing child’s-eye adventure that lends lyricism to the plight of migrants while showing there’s always a new way to make a documentary.

If not Hamaguchi’s best, this is a gracefully performed and expertly detailed collection of stories, revealing the delicate and unassuming magic to be found in simple conversation.

An improvement on Murder On The Orient Express, with the increased focus on Branagh’s Poirot (even with its strange moustache obsession) welcome enough to distract from the problems with some of its ensemble and its too-obvious reliance on VFX.

Belle is an exhilarating transformation of a classic tale, updating a story of alienation into something deeply resonant with our digital way of life. Though it misses a couple of notes in its final act, it’s an exhilarating sensory experience, with great emotional depths.

Joanna Hogg delivers an object lesson in how to deliver a follow-up: deeper, funnier, more imaginative than its predecessor, The Souvenir Part II is a filmmaker working at the peak of her powers.

Moonfall is precisely what you’d expect a film called Moonfall to be: deeply, defiantly, sometimes exasperatingly daft. It’s Roland Emmerich on apocalypse-autopilot.

Jackass Forever is a hilarious, even genuinely touching reunion of America’s most vulgar performance artists. It doesn’t reinvent the wheel for the series or definitively say goodbye to it, nor does it need to — it’s simply enough to remember that some things never get old.

It's an impressive performance from Chastain and a fascinating subject, but the film doesn’t delve deep enough into Bakker’s inner life.

Far from the best of Penn’s directing work but also not the worst (The Last Face is unlikely to lose that dubious crown). Dylan emerges the most triumphant Penn from a largely boring drama.

A loose, hurried ending can’t quite live up to the effective sense of dread created in the first two acts, but Amulet is still a fascinating, nightmarish debut from Garai.

The marriage of abstract existential themes, immersive, tactile images and dual timelines is always impressive but only occasionally moving.

There’s no questioning the high-octane energy of Garth Jennings’ star-studded ensemble, but the cacophony grows a little tiresome. The show can go on, but that doesn’t mean it must.

Almodóvar juggles comedy and drama to terrifically entertaining ends, aided by a tip-top Penélope Cruz. It’s hard to think of a more exciting actor-director partnership working today.

It may be a tough watch, but, boasting a quartet of excellent performances, Fran Kranz’s directorial debut is a technically adept, emotionally exhausting yet deeply cathartic film that couldn’t be more timely.

Belfast is exactly the kind of film that wins an audience award at a festival — highly entertaining and beautifully done without ever being innovative or challenging, finding the universal in the specific, the upbeat in dire circumstances. Slight but winning.

A Journal For Jordan is probably better suited to the page than the screen. Despite winning chemistry from Michael 
B. Jordan and Chanté Adams, Denzel Washington’s film etches a romance that rarely delivers substance or surprises.

A rare del Toro film that’s not an outright spook show, Nightmare Alley isn’t quite the filmmaker’s best — but it’s not far off, boasting an enveloping atmosphere, compelling characters, and gorgeous filmmaking.

An immersive and impassioned documentary from one of Britain’s most formidable filmmakers, which may be singular in its perspective but is as powerful to watch as it is painful.

Designed and deserving to be seen big and loud, Memoria is a hypnotic, unquantifiable, occasionally inpenetrable sonic odyssey from a unique cinematic voice.

For the most part, this is a ‘re-quel’ as fast, funny and ferocious as a Scream movie should be. In an era of elevated horror, it’s a gloriously gory basement party.

Moving and atmospheric, this quest tale is among the best of its kind.

A fast-paced and hectic kitchen thriller that, though it tries to spin a few too many plates, pulls you deep into a fascinating, detailed world most of us know little about.

An enjoyable World War II spy flick, Munich: The Edge Of War scores with strong performances and filmmaking craft, but is let down by a lack of dramatic heft. A Father’s Day watch in waiting.

The chases, fights and fun bits of spy craft are brightly and pacily shot, but the 'twists' are barely surprising. These women, and these characters, deserve more.

Too often The Electrical Life Of Louis Wain favours eccentricity over actual insight. But even when the tones jar, Cumberbatch’s vulnerable, layered performance always rings true.

There’s palpable dread throughout this stagey but nevertheless evocative whirlwind of dysfunction. It’s a gripping, appropriately stifling experience, and the feelings — the fear, the disappointment, the unhappiness — hit home.

Looser and funnier than his recent efforts, sharper and more formally assured than his earliest films, this is Paul Thomas Anderson operating at full capacity. A master at work.

Though a little messy and increasingly absurd in places, Titane is a brash body horror with intense central performances, certain to leave you wide-eyed and slack-jawed at such a risky cinematic endeavour.

Inevitably, there is a tacked-on quality here, yet Cousins’ flair for providing visual pleasure means that, like that first champagne cocktail of the night, The Next Generation bubbles with sparkling uplift.