This is a film about nothing less than the future of America and the history of mankind. It is brash and bonkers and doesn’t always hang together, but 85-year-old Francis Ford Coppola has rarely been as audacious.

The endearing moments in Kevin Smith’s coming-of-age cinema-fest are weighed down by underwritten comedy. Could have done with being more sweet, less salty.

You’ll think you know where this sun-baked serial-killer thriller is going, until you don’t. A nifty, chronologically crafty tale, fuelled by bravura acting by Willa Fitzgerald, it’s a small movie with high impact.

An affectionate road-trip buddy-movie, featuring an unseen depth to Will Ferrell, this documentary is illuminating, timely, and gently funny.

Feminist scholarship this ain’t; think Showgirls if it were directed by David Cronenberg. But give yourself permission to revel in the excess and be rewarded with an uproariously good time.

McKellen has fun as the bitter, biting Erskine, but the plot takes so long to come together that at times he’s the only thing holding the audience’s interest.

There’s slightly more than meets the eye with Transformers One. While the art style is sometimes off-putting, its ideas are interesting enough to make it a decent addition to the franchise.

The business of this story in both versions is suspense, and Watkins is very good at ratcheting screws . . . but also springs satisfying reversals and pay-offs.

Despite some tired storytelling devices, Lee is a handsomely made, moving biopic of a subject who deserves to be honoured — with stellar chemistry and performances from Kate Winslet and Andy Samberg.

Alicia Vikander gives a graceful performance and the lavish period production shines, but unfortunately this is more fizzle-out than fire-starter.

Its opening act may take some adjusting to, but succumb to the capable, captivating dynamic of these women and you won’t be disappointed.

Firmly establishing Aaron Pierre’s credentials as a thinking man’s Rambo, Rebel Ridge might not be particularly groundbreaking, but this Netflix-and-kill thriller is an undeniably fun night in.

Wolfs has all the practised professionalism of its two anti-heroes, if not quite their spark. But there are few movie stars as straightforwardly enjoyable to watch as Clooney and Pitt.

Starve Acre is sometimes overly derivative as a folk-horror — but Daniel Kokotajlo’s second film crafts a sinister Yorkshire, replete with impressively gnarly special effects and a strong performance from Morfydd Clark.

Page shines bright in an otherwise formulaic story, but this is still a thoughtful, sensitive portrait of a young man coming to terms with his sense of self and the love he deserves.

As sweet and beguiling a musical romance as it’s possible to have between two murderous psychopaths. Its kooky approach won’t suit all stripes of comic-book fan, but it finds a strange, tragic hopefulness all of its own.

Well-intentioned, with a strong performance from Andra Day — but uneven human drama eventually gives way to boringly familiar horror tropes. All round, The Deliverance struggles to deliver.

Brimming with compassion and punctuated by humour, this is a moving look at prison and prisoners. It’s both infuriating and inspirational to see so much beauty in such a harsh environment.

The film is strongest when it remembers it’s a Tim Burton film and has licence to get weird. While it’s slicker and less homemade-feeling than the 1988 vintage, there are still flashes of B-movie brilliance.

A turkey in crow’s clothing.

Despite great performances, stylish filmmaking, and a distinctive personality, Cuckoo emerges as slightly less than the sum of its parts. But it completes the hat-trick on Dan Stevens’ wildest year.

Having the mordant wit and tonal confidence to parlay The Troubles into a punchline, Kneecap has laughs, smarts and verve to spare. Get on board or, as the characters put it, fuck up.

Deeply forgettable and disposable, this is the kind of action-comedy you will feel like you have seen before. But Halle Berry and Mark Wahlberg are good fun, at least.

Paul Feig is mostly back on form with a likeable, frantic, murderous, madcap money-grab of a high-concept comedy. It could be funnier, but it rarely stops for breath.

Alien: Romulus plays the hits, but crucially remembers the ingredients for what makes a good Alien film, and executes them with stunning craft and care. It is, officially, the third-best film in the series.

A seriously effective, incisive thriller which establishes Zoë Kravitz as a bold directorial talent, and shows you a side of Channing Tatum that you’ve never seen before.

Sky Peals builds tension effectively, but stops short of meaningfully engaging with its chosen (and very worthwhile) themes. Still, if it’s a creepy-mood piece you’re after, this fits the bill.

An initially cool premise that goes nowhere interesting as it heads off somewhere else too quickly. Hartnett does his best, but director Shyamalan seems more interested in trying to convince us of his daughter’s pop-star credentials.