An incredibly tense, tightly contained bottle horror, showcasing a genuinely chilling turn from Hugh Grant. You’ll never watch Notting Hill the same way again.

Jacques Audiard’s outlandish musical thriller is a little jumbled, and a little misjudged in the treatment of its characters. But you can’t doubt its audaciousness.

Destined to be forgotten the minute it’s finished, Time Cut is a passable addition to the slash-up genre – acceptable Halloween fare for the fright-challenged, or anyone with a soft spot for the music of Hilary Duff.

This is Steve McQueen’s most accessible film to date, without diluting any of his power. Mixing epic sweep with textured detail, despite an episodic second half it will make even the stiffest upper lip quiver.

As far as documentaries go, this doesn’t reinvent the wheel, but its emotional account of Reeve’s life is a fitting tribute to a true superhuman.

At once a frenzied fairy tale and a tender-hearted character study, Anora is an intoxicating pairing of director and star. Baker’s unique, humanistic approach to filmmaking is as riveting and rewarding as ever.

If this is to be a swansong, it’s a fitting one: a thrillingly watchable legal thriller about truth, justice and (for better and for worse) the American way, as told by an all-American icon. 

Pacy thrills are doled out in a solid Sam Raimi-approved pulse-raiser with a few nifty ideas up its sleeve. Shall we try ‘Don’t Smell’ next?

It’s delightful to see these characters again, particularly the long-suffering Gromit, and if the jokes don’t come quite as thick and fast as before, the beating heart beneath the clay remains intact.

Though not as risk-taking as his earlier work, François Ozon’s fanfic for the Jazz Age steers clear of pastiche and is utterly charming — throwing a few curveballs to keep you on your toes.

A heartfelt digital eulogy for an unconventional but extremely human life.

It’s a very straightforward story, but there is no doubting the heartfelt nature of the telling — and the subject matter is unimpeachable. John Williams was the best to ever do it, and this film is a good reminder of how, and why.

The Front Room features a remarkably funny performance from Kathryn Hunter as a mischievous mother-in-law, but its tale of lurking danger remains malformed.

It’s third time unlucky for a series that still hasn’t worked out what it wants to be. The Last Dance can’t find its rhythm.

Woman Of The Hour isn’t the serial-killer thriller you’d expect, but more noble for it. Kendrick shows promise as a director, her lacklustre male antagonist hammering home this film’s purpose.

Creepy and clever but rarely surprising, this horror hits its marks well enough, but fails to surpass its more rough-and-ready predecessor.

A gift of great storytelling, this is the best film Chris Sanders has made.

A smart, tragic take on just how dark the American Dream can be, with award-worthy work from Stan and Strong.

By no means the disaster many might have expected following its years-long delay. You’ll like it. Not a lot, but you’ll like it.

Despite Oscar-winner Ariana DeBose's best efforts, this fine-dining horror only elicits a few scares. The food looks delicious, and the knife skills are on point, but genre fans will likely want to eat elsewhere.

An ingenious, wildly stylish new take on the body-swap movie, this deserves to be a Gen-Z cult classic. 

Despite the compelling high concept — and some epic action set-pieces — there’s not quite enough meat on the bones of this dystopian follow-up to make it truly worthy of its predecessor. 

For a debut feature, this dustbowl survival flick shows undeniable promise. But committed performances and striking cinematography can’t stop a shaky narrative crumbling at the last. 

Managing to go further over-the-top and pushing more offence buttons than you think possible, this is recommended only for the strong of stomach and hard of heart. 

Timestalker lacks a little humour and insight into obsessive love to make it truly sing, but it’s an admirably ambitious fable that could be destined to become a cult oddity.

Come to this clever satire for Sebastian Stan’s radical transformation, beyond the prosthetics, but stay for Adam Pearson’s remarkable performance as a bona fide matinée idol.

As with many high-concept horrors, it falls apart as it grasps for an ending, but there's still enough dread, and three great central performances, to just about carry it through.

Smart, and sharp enough to balance the sweetness of its simple yet profound message. All we have is time, and this film reminds us, movingly, that it matters how we spend it.