They say you can’t teach an old dog new tricks, but maybe they’re wrong: on this evidence, Guy Ritchie can absolutely learn how to make a Paul Greengrass film, delivering a handsome slice of serious war drama.

Set to be one of the final entries in what we know as the DCEU, this is also one of the best, a witty and warm buddy comedy that deserves to be more than just a Flash in the pan.

Lacks the ‘ick’ factor of the earlier Bay-directed efforts, and Fishback and Ramos do a great job as the token humans, but this is still just silly and derivative.

Across The Spider-Verse cranks every dial to 11, and somehow doesn’t collapse in on itself. Visually astonishing, emotionally powerful, narratively propulsive — it’s another masterpiece.

A beautifully understated performance from Sydney Sweeney, paired with stylistically minimalist filmmaking, make for a chilling, compelling chamber piece — finding the humanity underlying even the tensest of confrontations.

Some Host or DASHCAM fans might be disappointed that Rob Savage has opted for something ostensibly more conventional — but The Boogeyman shows he can also make an involving, ungimmicky ghost story with perfectly constructed menace and mayhem.

Paul Schrader delivers another compelling investigation of conflicted men in modern America. Master Gardener has a stately pace but a knockout punch; enriching cinema for the discerning punter.

Serving up stone-cold multiplex mayhem, Sisu makes no bones about it — this is a film about one mad bastard killing a gazillion Nazis. It’s almost impossible not to love it.

Truly delightful. Wes Anderson leans into his trademark eccentricities for a trip to the desert that won’t win any converts but will keep the Anderson faithful content.

Another ‘live-action’ remake that’s darker and less compelling than the animated original, but it’s saved by Bailey’s charming performance, McCarthy’s sass and the story’s own eternal magic.

No Martinis in sight, but this is still an extremely watchable look at a unique naming phenomenon — with surprisingly profound results.

Indy’s final date with destiny has a barmy finale that might divide audiences — but if you join him for the ride, it feels like a fitting goodbye to cinema’s favourite grave-robber.

Cinema’s least-subtle and most-escalated series hits its sky-high-concept plateau. It's a film that somehow finds new and fabulously silly things to do with cars, while — Momoa’s questionable villain aside — being exactly what you’d expect.

This is a come-for-Lopez, stay-for-Lopez endeavour, and she’s on fine, movie star form in this serviceable, if forgettable action thriller.

It takes courage and ingenuity to find the modern romcom formula within the operas of Gluck, sung well through SMS by Heughan and Chopra Jonas. It also stars Celine Dion.

This beautifully shot drama transforms an Italian summer of fraternal love into a delicate, decades-spanning exploration of friendship. It’s overlong, and overfamiliar, but remains a nuanced dual character study.

A grumpy Ben Affleck can’t save this confused thriller that has as many twists as a trepanning drill, and is about as likely to leave you feeling lobotomised.

Visually striking and explosively violent, this simmering parable makes exceptional use of its rustic locations — and the faces of a vibrant cast — to reinforce a sense of authenticity.

A film that recognises there is no single answer to questions like ‘who are you?’ or ‘where do you come from’. Stirring, constantly surprising stuff — with an arresting debut turn from Ji-Min Park.

This is silly and sentimental, but it’s also basically well-meaning and inoffensive. Best watched after quite a few grappas, or with your sprightly grandmother.

By turns heartwarming and heartbreaking, this is a fascinating and funny twin portrait of a Hollywood rise-and-fall, and the realities of living with Parkinson’s. It only confirms what we already knew: Michael J. Fox is one of the greats.

Lotfy Nathan’s debut is a grounded, sensitive portrait of a country still reeling from dysfunction. The script doesn’t penetrate as much as Adam Bessa’s searingly intense performance, which gives this social drama impressive emotional heft.

As twee as its title, Harold Fry probably won’t win over anyone immediately turned off by its premise. Broadbent and Wilton are as reliable as ever, but this tear-jerker mostly feels removed from real human emotion. It might inspire you to go for a nice walk, though.

Dumas’s classic novel finally gets an epic adaptation worthy of its scope, rendered in delicious French by its dangerously sexy cast. Gird your buckles because they’re about to get swashed.

A return to form for the MCU and for the Guardians, this is tear-jerking and heart-warming in equal measure, keeping its characters in focus despite all the chaos and colour swirling around them.

An all-too conventional look at an unconventional man, Big George Foreman is, alas, a swing and a miss.

David Lowery’s second Disney reimagining is artfully constructed and full of interesting ideas. But for a film about the energy and imagination of youth, it often feels trapped in its own head.

Come for Taylor’s breakout performance, stay for a tender, confidently told story of Black motherhood and sacrifice. Rockwell is one to watch.