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.