A touching and tender adaptation that does justice to a book which means so much to so many. An enduring, superbly performed triumph.

Stunning, if occasionally meandering, River provides waves of staggering visuals and a thought provoking, invigorating, environmental message.

A gripping, well-told, incredibly watchable thriller for a new generation of TikTok sleuths — and a compelling argument to up your average screen-time.

Tense and tightly plotted, How To Blow Up A Pipeline is existentially terrifying but not nihilistic. It’s an exciting, humanist eco-thriller that figures there’s still time to take action — but only so much.

Incompetent and mostly just quite boring, Assassin Club doesn’t even have the good grace to be so-bad-it’s-good. Rough, rough stuff.

One Fine Morning is Mia Hansen-Løve on tip top form, drawing a fantastic lead performance from a never-better Léa Seydoux. Some flicks need a bearded assassin or ghostface killer to create drama. Hansen-Løve just needs the stuff of real life.

Visually striking and emotionally poignant, Suzume manages to combine hilarity and heartache, in its heightened, therapeutic, if slightly unwieldy, narrative.

With a brilliantly unhinged performance from Alyssa Sutherland, and a note-perfect ending that unlocks more tales to come, Evil Dead Rise revives the dormant franchise more effectively than the ‘Necronomicon’ itself.

It’s not just the demonic possession victims whose eyes will be rolling back in their skulls – none of this should work, really, and yet the film just about gets away with it, proving the Lord truly does move in mysterious ways.

The reach of this avant-garde comic meltdown sometimes exceeds its grasp, but this is still a consistently jaw-dropping joyride through one man’s terrible, very bad, no good week.

Riper than the ripest of ripe Brie, this crime caper provides a ridiculous vehicle for the talents of pretty much everyone involved, all of whom appear to be having a splendid time. Taken on these terms, viewers probably will too.

Beautifully animated, and about as faithful and affectionate as a corporate cash-in is possible to get — but it still doesn’t come close to the experience of actually playing the games.

A dark action-comedy rather than a spooky gothic picture, Renfield is pitched to please long-time Dracula fans while reminding new generations that this Count was the first and arguably best monster villain in Hollywood horror history.

Standard-issue late-stage Netflix-era Sandler stuff: not exactly good, but goofy and charming in its own boneheaded, stick-it-on-if-there’s-nothing-else-on kind of way.

The long and devastating fallout from a senseless act of violence affects almost everyone in this compelling reality-inspired account, which lingers in the mind in a way that few crime stories do.

A so-so animated adventure that can’t ever find a compelling story to tell despite a few catchy songs and some colourful design. Maybe some dead things should stay buried.

It’s bleak and understated, but strong performances and a thorny moral maze give this considerable power despite the gloomy skies.

Adèle Exarchopoulos excels in this dark, elemental drama. A sensory delight that marks Léa Mysius as a filmmaker to get excited about.

A children’s film for pensioners, 80 For Brady is an absurd, silly mess. But in spite of itself — and thanks to the warm, genuine chemistry of its legendary leading ladies — it is sweet, and difficult to truly begrudge.

A lot more entertaining and irreverent than the film’s grandiose subtitle, “Courting A Legend”, suggests — even if it’s hardly as trailblazing as the man to whom it pays tribute.

A slick, satirical, insane thrill-ride. Come for the twisted concept and blood-soaked barminess, stay for Mia Goth drinking wine straight from the bottle while yelling, “Sucky baby!” at Alexander Skarsgård.

Eyre’s all-star cast may shine in Allelujah, but even Dame Judi Dench can’t save a film whose third act so spectacularly nosedives into “Batshit-Craziest Story Choices Ever Put On Film Hall Of Fame” territory.

Ridiculously charming, immensely funny, and shot with an unusual zestiness, Rye Lane is purely joyful company — and a shot in the arm for future romantic comedies.

The Godfather Part II of on-the-farm slasher-movie prequels, this is an American gothic shocker with a lot to say — and an awards-worthy lead performance from Mia Goth.

While it never quite swims beyond the shallows of its money-minded plot, this fictionalised account of the licensing battle over hit puzzle game Tetris is, for the most part, absorbing and exuberant.

Bigger, weirder, and just about funnier than the first, the second Shazam! remains entertaining despite some tiresome plotting. And who doesn’t want to see Helen Mirren as an all-powerful Greek goddess?

If you’re not up for a film that’s nearly three hours of wall-to-wall fighting, this chapter might get on your wick. That fighting, though, is a bone-crunching, butt-clenching masterclass.

Revelling in its own ridiculousness but finding an emotional core too, this is a wildly entertaining high-fantasy-meets-low comedy. It will leave you prancing your way out of the cinema, lute or no.