There’s a wobble about how committed this is to being a scary movie rather than an inside Hollywood drama, but — like Exorcist III — it springs one great lunge-out-of-an-unexpected-corner-of-the-frame jump scare.

Out front and backstage, this illuminating but not quite revelatory documentary shows a vulnerable, exhausted Blur and the band at their best. Interesting to casual fans, essential for devotees.

More of a slow burn than a thrill-ride, this study of bygone motorhead mentality at its most visceral and violent is gorgeously shot — but only nicks the surface.

A solid shark thriller whose admirable but clunky eco-warnings almost get in the way of a good time. Best when it allows itself to really go in-Seine.

It’s not the fault of either star, but the half-baked script makes this an unsatisfyingly thin exploration of the weighty themes it seeks to cover. More intellectual cut-and-thrust and fewer flashbacks would have helped.

More solid Prime Video Sports Doc than Subject-Transcending Asif Kapadia Investigation, Twelve Final Days is nonetheless an entertaining, occasionally illuminating and at times surprisingly moving look at the final bow of a genuine tennis legend.

It’s all a little too lightweight, and not above corniness and sentimentality, but it does earn its little emotional breakthroughs, modest as they are. And the sense of time and place is vivid.

Though things go off the rails in the third act, Arcadian’s intriguing premise and inspired monster design pack plenty of scares into this post-apocalyptic fable.

It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.

A devastating, urgent reminder that art can be dangerous and important and political and powerful — especially in ten-inch heels.

Through this decade so far, Pixar’s films have held great ideas that haven’t quite reached their full potential. This is probably its best film since Coco, and best sequel since Toy Story 3.

Sasquatch Sunset is a gloriously vulgar film about made-up monsters from children’s stories — but it is also a terribly melancholy adult story about the violence of progress. What a remarkable, unique, sad little cult oddity it is.

A Western that hits many of the expected beats but which does so in an unexpected manner, being centred on a tender, loving relationship rather than gunplay and grit.

Fanning brings her A-game and there’s enough mystery about the monsters in the woods to string audiences along until the satisfyingly weird finish. As mid-list horror goes, perfectly fine.

Scruffy and overstuffed, but contagiously good-natured. And frankly more films need to feature showdowns at abandoned alligator-themed amusement parks.

Ron Howard’s genial account of the legendary Muppeteer plays it safe, with a fairly traditional documentary-making approach — but it still manages to be adequately inspirational, celebrational and, yes, even Muppetational.

Eschewing the linear approach, this erratic documentary occasionally drifts a little too close to self-indulgence. But it’s also a frank, funny and disarmingly deep portrait of a true screen legend.

It’s long and sometimes gets swept astray by currents of family drama and period detail, but Ridley’s plucky determination and can-do energy carries the whole thing along. The result is an old-fashioned inspirational pleasure.

Though it takes too long to get into the swing of things, Sting delivers faint echoes of the B-movie classic it wants to be, offering a memorable foe in a giant, bloodthirsty spider.

By putting technology on trial as the chief parasite causing modern malaise, but fusing it with a melodrama about love, Bonello has created a wholly original work that pulses with prescience.

Lopez throws everything at this, but even major movie-star charisma can’t make up for the recycled story elements, tired exposition and endless psycho-babble. Maybe the machines can take over and do better.

This latest attempt to adapt the world’s laziest cat for the big screen just feels plain lazy: pure kids’-movie-by-numbers. The cinematic equivalent of a Monday.

Glen Powell achieves certified movie-star status and Adria Arjona shines in this slick, seductive romantic thriller. Don’t let it get buried in your Netflix watch list.

Luna Carmoon’s grimy study of loss might ultimately be too strange for its own good. Nevertheless, this debut boldly announces the arrival of one of Britain’s most promising new filmmakers.

Far from perfect in its execution, but once IF hits its stride, Reynolds and Fleming keep this emotional adventure entertaining enough.

The chassis may look familiar but there is a very different engine driving Furiosa from that of Fury Road: it’s a rich, sprawling epic that only strengthens and deepens the Max-mythology. It shall ride eternal!

Tarot is a personality-less horror that doesn’t overly concern itself with either character or plot. It’s here to deliver one thing and one thing only: cool kills.

Enigmatic, absorbing and so much more alive than any pottery behind glass in a museum, this is an exquisitely crafted, grown-up Indiana Jones steeped in its own distinctive magic.