The romcom comeback is well and truly on — and Voicemails For Isabelle leads the way. Nick Robinson and Zoey Deutch’s palpable on-screen chemistry is enough to make even the coldest of hearts believe in love.

Part greatest hits compilation, this is fun and peppered with fresh prankery. A fine way to sign off for the smashed groins and punctured bums of America’s gross-out kings on their last big-screen blow-out.

Milly Alcock’s hungover hero is delightful, even if the film never truly cuts loose. Here’s hoping she gets a weirder, wilder showcase.

An instant cult-classic comedy that should be seen with a rowdy crowd — and then cherished for years to come on repeated quote-along home viewings.

On the surface, this is a very tense and very funny comedy of manners. Underneath all that, though, is a sad, incisive, brilliantly drawn study of a failing marriage.

The overall tone remains as juvenile as ever. It is goofy and giggly and resolutely wedded to stupidity. There’s little attempt to add much depth to the story, in the way that Pixar might try to — it is essentially, once again, just a series of contrived opportunities for the little guys to get up to chaotic mischief. And so it goes. The world keeps on turning.

A stellar cast, a few laughs and some stylish filmmaking can’t quite make up for Over Your Dead Body’s lack of dimension and off-putting tone.

It’s funny and charming on a level with the first three films, even if it pulls a couple of punches. Pixar’s not just toying with these characters — they take play very seriously indeed.

An everything-and-the-talavera-sink stop-motion delight that synthesises magic, music and the macabre into a mostly exhilarating, occasionally exhausting cinematic experience, Mexico’s first stop-motion feature was more than worth the wait. Bring on its second!

A masterfully executed sci-fi conspiracy thriller that beams us right back into the Spielberg heartland of eerie wonder, everyman — and woman — heroes, and optimistic uplift.

An undeniably funny copulating caper that makes good on the laughs, if a little less on the lust.

The posters — inspired parodies of recent horror films — are wittier than the film, suggesting that maybe next time get those ad creatives into the writers’ room. Not your favourite Scary Movie.

A sharp relationship drama drenched in the casual cool of Charli XCX’s pop persona, with an impressive performance that strips it all way.

It's an effectively made, beautifully acted piece, but as with many family dramas, much of this could have been sorted out if a few confidences had been shared a few decades earlier. 

A warm, mostly funny Brit-romcom which both celebrates and tweaks the old template — with winsome turns from Rice and Fearn.  

Scrappy, stylish and occasionally self-indulgent, Köln 75 turns backstage bedlam into jazz-infused drama. Mala Emde conducts the chaos and her performance, like the film, is most alive when everything threatens to collapse.

A delightfully silly film for a perfectly stupid franchise. It could have had a few sharper lines and more narrative drive, but this should still win over a new generation of He-fans.

Another catchy Valentine to the transcendent properties of music, Power Ballad is perhaps a little more grounded than your average John Carney playlist. Full of native wit, warmth and generosity: play it on repeat.

This affectionate ‘making of’ comes with a runtime that might put some off delving into it, but it is worth it. Just as The Thing was the “ultimate in alien terror”, The Thing Expanded is the ultimate in documentary joy. 

This movie is most certainly not for everyone. It favours opacity, half-glimpsed creatures and a steady sense of unease over crowd-pleasing jumps, and is sure to spark endless debate and interpretations among those who aren’t bored silly by it.

An easy-going thriller throwback that mostly plays all the right notes, Tuner is winning and unexpectedly romantic, with Leo Woodall on fine form.

This Hungarian-language drama is a wild, surreal, harrowing and funny ride that may even win you over to veganism. Think Chicken Run for intellectuals. 

Frontloaded with memorable scares, this precision-tooled shocker is fast-paced, fun and, at times, genuinely frightening.  

A relentless mess of a film. Other short-form animation works at feature length, but even children would have to be pretty undemanding to enjoy this Tom and Jerry.

Both unnecessarily complicated and woefully simple, this is one of the least successful Jack Ryan adaptations yet: neither Clear, nor Present. 

The first Star Wars film in nearly a decade doesn’t shake up the formula: instead, it’s a lively if inessential extended episode of the series. But Mando remains cool, and Grogu remains cute

A comedically gruesome take on love’s maddening effects — even more so than last year’s Together — Obsession is so fresh and exhilarating, one can forgive its familiar origins. Curry Barker is set for big things.

Bob Odenkirk continues his late-career action streak with a satirical and stylishly violent take on the small-town-under-siege movie. Ben Wheatley meets John Wick? Oh, go on then.

Who was it made for? Everyone. You don’t have to be a diehard Eilish fan to appreciate the artistry in music, performance and filmmaking here. 

Another solidly gripping film from the ever-prolific Soderbergh, this is a terrific two-hander, with Coel and McKellen on fine, fierce form.

A high-energy doc that does a tidy job of spanning 50 action-packed years. We suggest you don’t run to the hills but your nearest cinema instead.

An occasionally interesting but over-stretched attempt to recount Putin’s rise to power, best appreciated for the few moments in which Jude Law appears.

The creatively gory fighting and amusing — if shallow — characters just about compensate for the paper-thin story. But at its best, it’s a lot of dumb fun. 

Hokum isn’t just hokum. On top of an affecting personal quest for a non-despairing ending, it delivers a full evening of scares, chills, wicked jokes and haunted escape-room hijinks.

A sequel that serves its characters with a fresh story instead of relying solely on the tropes of its predecessor. This high-fashion tale could have benefited from higher stakes, but Streep and company remain as in vogue as ever.

It is a committed ensemble that sells this flock’s love for their shepherd, and while the tale often treads on familiar ground, it is in the bond between these animals and their owner that the film finds its woolly heart.

Just a solidly made cat-and-mouse thriller, with muscularly committed performances from its two leads. It’ll make you want to explore the Great Outdoors and simultaneously never leave your house again.

Cox evidently harbours a profound love for his homeland, and it’s nice to see Alan Cumming and Shirley Henderson speaking in their native Scottish accents for a change. But while it may inspire you to book a Highland holiday, there’s little else to take away from such a soppy passion project.

A defiantly avant-garde take on commercial chart-toppers. It’s not for everyone, but it deserves to be: a gorgeous fusion of film, fashion, faith, and certified bangers.

Mark Jenkin is still Mark Jenk-ing: the most stubbornly analogue filmmaker out there has produced another satisfyingly baffling film about Cornish communities and the supernatural tension between past and present.

Hugely impressive musical and dance performances from the two young men playing Michael Jackson cannot shake off the uncomfortable fact that there is an entire other side to the pop star’s story which is entirely conspicuous by its absence here.

A daring reimagining of an oft-told story, Kiss Of The Spider Woman features some sensational musical moments that nicely hark back to classic Hollywood, but struggles to reconcile two very different worlds.

More shallow than The Shallows, and lacking the depth of even Deep Blue Sea, this has chuckle-worthy moments but will be forgotten roughly 47 metres down in the lower-echelons of shark cinema.

Parts of Outcome work a treat (see: Martin Scorsese). Shame, then, that long stretches give in to blunt parody, leaving the feeling there’s a much better movie in here somewhere.

Domestic chills, body horror, paranormal scares and gore-drenched action combine in a very distinct but rather uneven — and at times contentious — take on a classic monster icon.

The cinematic equivalent of being teabagged without your consent.

Closer to the gentle humanism of Paterson than Jarmusch’s cooler, ironic output, Father Mother Sister Brother is a small-scale and singular treat.

Charming performances from Bailey and Page can’t make up for the crushing levels of cringe. More an underwhelming pasta ready-meal than a fine-dining experience.

A cautionary tale against the dangers of excessive podcasting, this is a supremely spooky sonic ordeal. As an allegory for Catholic guilt, it’s haunting; as an auditory experience, it’ll fuck you up.

It’s thinner than the paper it’s written on, and full of questionable choices — but in a switch-your-brain-off kind of way, this will adequately activate your heist glands. Light the fuze!

The moments of fan service might keep the hardcore happy, but for everyone else over the age of five it’s just a succession of loud, bright things happening without any real point.

A dark and darkly funny dissection of a couple’s ‘perfect’ relationship, examining how internal forces and exterior pressures can drive two people to their breaking point.

Blood-drenched and gore-splattered, anchored by a hard-as-nails performance by Beetz, this is a thinly plotted but immensely fun horrorfest. Best watched with a strong stomach.

A bitter howl at the injustice of the modern world, intellectualised through one of literature’s shrewdest figures. Powerful and eye-opening, but Orwell himself might have preferred a less partisan approach.

The kind of good old-fashioned adult comedy we don’t see enough — delivering a confident commentary on the mess of modern sex and relationships. Unpredictable, unromantic and, most importantly, unbelievably funny.

It’s nonsense — but at the very least, well-meaning nonsense.

Its magical denizens too often look and feel like out-of-season pantomime characters, but there’s just enough heart and humour to make this enchanting.

It’s easy on the eye, and indeed the brain, but this is nowhere near as sharply written or plotted as it should be to bring these characters to life.

A slight but consistently entertaining, thoroughly funny slice of life, this is Ben Wheatley untethered, letting off steam with a workout. It is a welcome carnival of misanthropy.

Van Sant’s previous historical fictions have been more incisive, but this is a tense crime thriller, with a solid new addition to Bill Skarsgård’s rogues’ gallery of scumbags.

A special sort of film, one which can be enjoyed as a dark climate-change allegory and a bright, colourful, emotional yarn on friendship and family. Fantastique!

Round two’s double-or-nothing approach means there are fewer surprises this time around. Yet as Weaving’s endlessly watchable bride gets even bloodier, it’s hard not to crack a smile at the relentless fun.

With some genuinely shocking moments, this is a fascinating, frightening —  if frustrating — account of masculinity in crisis.  

WALL•E director Andrew Stanton weaves together three different stories across three different eras of human history. The result is a streaming epic as painfully sappy as it is structurally ambitious.

Mamoru Hosoda’s continuing experiments with animation are passable enough. But it’s not enough to uplift this loose adaptation of a literary classic with its rather clumsy thesis on cycles of violence. 

This game and glitzy American redo of a British comedy great contains some fun and thrills but never quite explodes into brilliance. One to consider rather than run to.

A very watchable old-school blockbuster crowd-pleaser. Ryan Gosling and an alien made of rocks are the best space-based double-act since R2-D2 and C3-PO.

Parochial pub-based piffle — like a pint that’s gone a bit flat. But you can’t doubt its sincerity.

A brainless, bombastic, bomb-tastic action romp, this is absurd on almost every level, and far more fun than it has any right to be.

With its edgy style intact, The Immortal Man never takes its eye off the Peaky faithful. But keeping the fans happy is a double-edged sword, as it can’t help but just feel like an extra-long episode rather than a standalone cinematic experience.

Fans of Maggie Gyllenhaal will be disappointed; fans of Mary Shelley will be disappointed; fans of unhinged cinema will be morbidly intrigued.

A one-of-a-kind cinematic experience from Mona Fastvold, shot in glorious 70mm, fuelled by music and movement that will shake your soul. See it on the big screen, if you can.

So intense you’ll want to scarper but so riveting you can’t leave, Sirāt is an assault on the senses, mind and emotions. If only all movies took swings this bold.

Don’t call it a comeback — but this is really strong stuff from Pixar: funny, thoughtful, sweet, making for a heartfelt paean to nature, and beavers in particular. Dam good.

The offstage elements may slightly underwhelm, but Luhrmann’s kaleidoscopic exploration of Elvis’ Vegas residency is one of the most thrilling musical experiences you can have at a cinema.

It’s no Scream. Or, indeed, The Babadook. But Kevin Williamson’s meta-slasher has solid emotional underpinning and a handful of ace scenes. And Sidney-f*cking-Prescott.

A clever, funny, suspenseful, interestingly cynical science-fiction horror movie with a great collection of monsters — courtesy of make-up geniuses Dave and Lou Elsey — and a cast whose enthusiasm is, appropriately, infectious.

This starts strong but doesn’t always have the room to explore all the ideas it crams in, even with a lengthy running time. Still, Rockwell’s man-on-a-mission is a delight.

A beautifully hand-crafted love letter to childhood, self-discovery, and the life-changing power of really good chocolate, Little Amélie is 78 minutes of pure animated joy that welcomes one and all. 

With images of violence brushing against understated strength — amid a search for love, safety and self-actualisation — this is an astonishing cinematic experience that lures the past into the present.

An energetic, urgent and damning assessment of our prison crisis, Wasteman marks Cal McMau as an exciting new homegrown director.

Though not one for subtlety, Bronstein’s pressure-cooking, panic-mongering sophomore feature is perversely enjoyable — as long as you can take the stress.

Lovely visuals, but this is a rare miss from Sony Pictures Animation. Watch KPop Demon Hunters again, instead.

Gorgeous to look at — but this is simply not looney enough to stand alongside the Looney Tunes greats of old. Needs more anvils.

It may come dressed in borrowed robes, but this is a no-holds-barred horror with real bite — and surely the start of a new franchise.

There’s a pleasure to seeing such a starry cast in a slick cinematic thriller. But beyond that, Crime 101 offers little to remember after the closing credits.

An uncompromising debut that weaves Lidia Yuknavitch’s rich but troubled life into hypnotic poetry. Kristen Stewart reintroduces herself as an exciting filmmaker who’s out to make a splash.

A hugely impressive debut. Personal and political, this is a tender and spellbinding depiction of family in fraught times.

Fennell throws everything at this fever-dream adaptation, which massages the senses while showcasing Elordi’s ever-growing star power. If only its electrically erotic energy was sustained to the end.

A wry, sharp and never self-serious take on pop stardom.

A cute, warm-hearted indie darling this is not. Twinless is an uncomfortable, pitch-black comedy you won’t be able to look away from, with a career-best performance from Dylan O’Brien.

Despite Fischbach’s arguably admirable intent and exertion, this low-budget sci-fi horror makes Event Horizon look like 2001: A Space Odyssey.

It’s beautifully designed and pleasantly quirky, with fun performances from the cast, yet the arch narrative style and structure can make the whole feel thin and unsatisfying.

Okay, so it’s Cujo with a chimp and a pool instead of a dog and a car – but Primate delivers good, gruesome business and has a sense of fun. Solid horror hokum.

An obsequious, ring-kissing portrait of the current US administration, dressed in gauche, glossy reality-TV clothing. And yet somehow still better than Rush Hour 3.

Essentially “Men will literally do stand-up rather than go to therapy”, in cinematic form. An appealing tragicomedy-drama, told with veracity and heart by Cooper, Arnett and Dern.

It’s another spin on the usual Statham actioner, solidly performed but with a ridiculous plot and – even by the standards of the genre – a predictable outcome. Less gimme shelter, more gimme a break.

Die-hard fans may get a kick out of seeing the monstrosities of Silent Hill on the big screen. But this return trip to gaming’s most terrifying town won’t leave you scared — just bored.