Deceptively courageous and perceptive on parasocial celebrity culture — and on the fallacy that women have expiration dates — The Idea Of You has good, clean fun with two characters it’s impossible not to love.

With some incredible stunts and Gosling and Blunt on top form, this gloriously entertaining comedy is a love-letter to the unsung heroes of cinema.

Seize Them! turns the Dark Ages into the daft ages, delivering a mostly entertaining, female-centred comedy enlivened by winning performances.

Despite a valiant effort from Justice Smith, the satire in The American Society of Magical Negroes feels aimless, scattered across a story that struggles to pick a meaningful direction.

The performances are solid and the story is touching — and perhaps that will carry this to its chosen audience. But it's a little flat for true drama.

Despite some fun action excess and an impressively committed performance from Bill Skarsgård, Boy Kills World is a muddled, tiring mess, favouring violent shocks over cohesive storytelling.

Hugely affecting and perfectly played, Nowhere Special is a peach of a picture.

Kidnapped is an expertly paced, gorgeously shot and evocative true story of faith, family, and the power of people coming together to right deeply ingrained wrongs.

Tense and occasionally disturbing, but somehow you’re left with the nagging suspicion that what should have been a meaty psychological drama has been turned into a slightly insipid thriller instead.

A solid, old-fashioned Irish Western about what it means to hang up your rifle. It isn’t especially deep, but it’s good to see Liam Neeson find some character depth among the usual shooting and grumbling.

With a cast this talented there will always be decent moments, but they never cohere. Credit for its casting and design, but it’s not the movie messiah, just a very disappointing mess.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Tossing a malicious vampire kid among squabbling, not-exactly-un-dangerous humans is a recipe for a wickedly enjoyable thrill ride. One of the messiest vampire movies ever made, and winningly so.

A beautiful, subdued Daisy Ridley performance anchors a story that is underplayed to the point of almost non-existence. Still, if you’re tired of blockbuster bombast, this could be the antidote.

Operating at the peak of his powers, Luca Guadagnino has the time of his life with this practically sadistic exploration of unrelenting obsession. It is horny, it is hungry, it is phenomenally exciting filmmaking.

A deceptively simple tale with a lot to say, Drift lingers long, thanks largely to a mesmerising performance from Cynthia Erivo.

A solid performance let down by a script that cherry-picks the facts and ultimately tells us less than we already know. Watch Asif Kapadia’s Amy instead.

For veteran viewers who’ve seen it all before, it’s not exactly the Second Coming. But novice nunsploitation audiences might find this habit-forming: a stylish enough entry-level initiation.

Scoop is not quite the prince that was promised. But there are some gripping moments, and some extraordinary performances — especially from Sewell and Piper.

Director Ryusuke Hamaguchi subverts expectations beautifully, but this brain-teaser makes no bones about the violence that often comes with ‘progress’.

This doesn’t reinvent the wheel, and keeps you waiting too long for the final showdown — but when the creatures collide, it still delivers satisfying thrills.

As a political statement, Civil War is provocative and occasionally exasperating; as a purely cinematic experience, it is urgent, heart-in-mouth, extraordinary stuff.

Visceral and heady, this is a blood-soaked, all-American fable that’s as if Thelma And Louise literally went on steroids. Rose Glass is a force to be reckoned with.

Stylish, high-energy, smart and eye-wateringly violent. There are quibbles, for sure, but where it counts, Monkey Man goes bananas in the best possible way.

Sophisticated, adult thrillers are few and far between, and Mothers’ Instinct fills the void admirably. With vivid, striking imagery and top-notch production design, the film paints an exciting, moreish portrait of psychological intrigue.

A smart, original approach makes this much more than just another Exorcist wannabe. You’ll sense that there are horrors coming, but you still won’t quite feel ready.

Immaculate has the look of something as lightly spooky as the Nun films, but is prepared to go a lot further — abetted by a committed lead performance — than your average haunted convent picture.

There was potential here, but Frozen Empire is an overpopulated mish-mash, with too many heroes to wrangle. What’s left is a bit of a gooey mess. We’ve been slimed.