This is probably not the film you would expect it to be. But its unexpectedness is its biggest asset, a moving and very eccentric feathered fantasy about life, death and everything in-between.

An awkward mix of gross-out comedy and big emotional sincerity, which may be authentic to the experience of pregnancy but feels clumsily balanced between these two characters.

Though low-stakes for an adventure film, this is nonetheless an engaging, found-family eco-fable that imparts an important conservationist message with considerable, at times impressionistic, style.

The Instigators isn’t exactly revolutionary, but is a good time regardless: an easygoing crime caper offering an excellent cast a fun sandpit in which to snipe at each other.

It’s well-intentioned and manages some nicely judged messaging by the end, but Harold’s mugging and his animal companions’ antics aren’t nearly as cute as the film thinks they are.

Guy Ritchie’s defiantly ahistorical romp is part derring-do spycraft, part bullet-riddled action, part impish comedy, and all-parts silly.

Despite a few early narrative bumps, it’s hard to imagine what more you could want from a movie with this pairing. Marvel has found its mojo again.

Visceral and intensely moving, this film feels like something you’d stumble across on TV in the small hours and never forget. It might herald a new era for queer cinema.

This gentle and intimate coming-of-age drama from beloved playwright Annie Baker is an assured but frustratingly slow-paced directorial debut which evokes the bittersweet nostalgia of ‘90s pre-teen girlhood.

An unorthodox romance that will leave you sweaty-palmed and tearful, in equal measure. It doesn’t quite reach the heights it could, but there’s a hell of a view at the top.

Surprisingly exciting and laugh-out-loud funny, Thelma is a warm-hearted joyride. If anything, it’ll make you really want to pick up the phone and call your own grandma.

Despite some shaky moments, Chuck Chuck Baby is an endearing tale of self-acceptance, wearing its heart fully on its sleeve thanks to the affecting central romance and joyous transformation of its protagonist.

The 4.5 hour-plus runtime might put some off, but that massive canvas only allows for the deepest of deep dives into a monumental achievement in cinematic science-fiction. Another glorious day in the corps!

This is a bold, unusual and gorgeously realised take on the very familiar slasher template — even if it doesn’t quite live up to its innovative promise.

A tale of pelts that pelts along, with more lunacy and creativity than a brace of other films, this film dares to go full beaver. Don’t sleep on it.

A chilling concoction, featuring a remarkable transformation of Nicolas Cage and a reminder of Maika Monroe’s star quality. Submit to its demonic darkness for a singular, sensory cinematic horror experience.

With Edgar-Jones and Powell’s fizzing appeal at its epicentre, Twisters at once feels like a testament to a new generation of stars and a gripping old-school movie event. Fear it. Watch it.

Greg Berlanti’s revisionist comedy offers a fresh take on the Apollo 11 moon landing, but its convoluted conspiracy fails to capitalise on the charms of Johansson and Tatum’s workplace romance.

Kill lives up to its name, and then some: this is a breathless, ferociously gory action film, on a level rarely seen before in Indian cinema.

A compelling if formulaic star-crossed lovers’ narrative. Come for a wordless seduction, stay for the complexities of parenthood, drag queens and family loyalties that deserve more of your time.

It looks fantastic, Gru is still loveable, and smaller viewers will be engaged enough. But Despicable Me 4 stalls in its overstuffed plot and its lack of an interesting narrative.

It purports to celebrate the pursuit of science, but this film may have single-handedly set the space programme back a decade.

All involved have done a solid job in executing what most fans likely want from a very belated Beverly Hills Cop sequel. This is not an action movie with the slickness or invention to take on any current blockbuster franchise. It’s cheerfully old-fashioned and easy. It feels like you should be popping open a VHS case to watch it.

Not even Nicole Kidman playing off Kathy Bates — or Zac Efron singing Cher's Believe — are enough to save what should have been a surefire hit from Hallmark musings and tired clichés.

The female-first vibe is refreshing but Something In The Water is something old, nothing new, a lot that is borrowed and an eyeful of twinkly blue.

A solid A Quiet Place entry is elevated by Lupita Nyong’o and Joseph Quinn’s affecting performances — a surprisingly tender tale of the end of days.

Capping an unusual trilogy, MaXXXine is an intense woman-fights-back thriller. Mia Goth’s Maxine is what you’d get if the Robert De Niro and Jodie Foster of Taxi Driver were fused in the telepod from The Fly.

A thoughtful, affecting debut feature from Tremblay that puts a necessary spotlight on Indigenous peoples — featuring another exceptional performance from Lily Gladstone.