A striking, unforgettable exercise in absence, this is about what we don’t see — and what we choose not to see. The horror is unseen but underlying, and all the more arresting because of it.

It might look at first glance like another goofy CG distraction-fest, but this is that rare family-friendly film bursting with ideas and challenging concepts. It’s Charlie Kaufman’s introspective existential dread — for kids!

A sanitised version of Spielberg’s film, let alone Walker’s novel. But bravura musical sequences and a top-notch cast ensure smiles and tears come the end credits.

An eerie, beautifully executed study of duty, grief and wrestling, boasting an excellent cast, and a leap forward for its director. A heavyweight collective has just entered the ring.

It’s hard to think of another recent drama that feels so brazenly personal, so yearning, so naked and vulnerable. It feels like forgiveness, for Haigh himself, and maybe for others. He’s letting it all out. These characters are a lifeline for him, too.

Prettily shot and with moments of emotional power thanks to Jodie Comer’s performance, The End We Start From is involving and unpredictable, yet strangely cold when it should be searing.

Not as revolutionary as Children Of Men, nor as wild as Attack The Block, The Kitchen is still solid British sci-fi with a social-realist flavour. An auspicious directorial debut from Tavares and Kaluuya.

The only film you’ll see this year with a limbless torso playing drums with animated entrails, this wickedly witty take on the seamy side of creative ambition is well worth a spin.

It’s unexceptionally filmed and occasionally clunky, but this is a gently heart-warming underdog story, and Turner shows real star-power in the lead role.

By stifling Hart’s seasoned comedy-fuelled charisma, this overly stylised crime caper is a turbulent ride. Stay for Mbatha-Raw’s righteous action skills, which should propel her to bigger and bolder things.

Not the reunion between Lau and Leung that fans might have been craving, nor the decadent deep-dive into Hong Kong’s boom-time that the film could and should have been.

Sharp, funny and strongest when it stands on its own two perfectly manicured feet, this snappy musical successfully updates the original Mean Girls template for a fresh audience.

Statham is as gruffly convincing as he usually is (though it’s 20 minutes before he’s even allowed to kick any ass), but the action scenes are horribly inconsistent: fine in the hand-to-hand stuff, sloppy elsewhere.

It’s never quite as satisfying an experience as Schitt’s Creek — but thanks especially to a sparky trio of actors, Daniel Levy’s directorial debut is strong when it comes to the heartache of grief and the importance of friends.

John Woo’s first American film in 20 years is not the filmmaker at his peak — but it has its moments, with energetically filmed action enough to distract from a melodramatic tone and sometimes silly concept.

Last-act let-down aside, this is a confident and creepy ghoul-in-the-pool horror that makes Bryce McGuire a filmmaker to watch. Wusses, bring armbands.

The obvious chemistry and charm of Sydney Sweeney and Glen Powell counts for a lot, yet not quite enough, in a romantic comedy severely lacking in both romance and comedy.

Despite a charismatic turn from Momoa and some fun frenemy banter, this is a disappointing send-off that sees the DCEU go out with a squelch rather than a splash. Fin.

A comic thriller that isn’t especially funny or particularly exciting, The Family Plan is an overlong slog that struggles to make use of its game cast.

The over-familiar story-beats and safe execution stop this from reaching its full potential — but Hopkins and Flynn shine, providing a moving portrayal of Winton’s life.

With its woozy aesthetic and dynamic, beguiling cast, Priscilla is textbook Sofia Coppola: not breaking the mould, but a sublime continuation of her sad-girl sensibilities.

A surprisingly staid biopic of Ferrari’s venerable originator. In unpacking motorsport’s greatest legacy, it gets bogged down in a dull relationship drama — but the racing sequences are thrillingly visceral.

A viscerally rendered plane crash gives way to an affecting story of humanity and survival. Bayona is on impressive form here.

Waititi’s shtick runs thin, and there are badly misguided moments, but this is still a warm, heart-mostly-in-the-right-place portrait of a momentously poor sports team.

Merry Little Batman has every potential to become a new festive favourite: a delightful Bat-gift that will have viewers longing for future holiday specials featuring Little Batman.

Despite some cool action sequences and interesting aliens, the first Rebel Moon instalment is a disjointed ride through an under-realised universe.

The set-up is not as elegant as that of the first film, so this feels more forced and the humour more familiar. Still, the performances are winning and the setting appropriately seasonal, so it might do for the holidays.

Absolutely batshit, utterly filthy and a true original: Poor Things is as good as Yorgos Lanthimos and Emma Stone have ever been.