An entertaining thriller that also functions as a character study with a dark side, Emily The Criminal is above all else a spectacular argument for casting Aubrey Plaza in as many off-beat and well-written indie movies as she has the time and inclination to appear in.

An award-worthy performance from the reliably exceptional Andrea Riseborough elevates an affecting portrait of the road to recovery that fails to tread new ground.

It hardly breaks the romcom mould, but You People is funny and thoughtful on how race can still divide a relationship. As the in-laws from hell, meanwhile, Eddie Murphy and Julia Louis-Dreyfus are the undeniable highlights.

More than a glimpse into a photographer’s work, All The Beauty cuts to the bone with its incandescent celebration of life and condemnation of those who threaten it. Art and activism are one and the same.

As that Ronseal title suggests, Plane is rarely on the good side of trash. But at least Gerard Butler and Mike Colter offer some solid action-star appeal.

It may be unevenly paced, but JUNG_E delivers where it matters: propulsive action sequences, emotive drama and grand existential questions about the human connections that sustain us.

An understated but compelling look at coercive control, toxic relationships and healing friendships, with perhaps a career-best performance from Kendrick.

An affecting reflection on the loneliness we will all have to face at our end, held together by Vicky Krieps's poised display of unself-pitying despair and liberating acceptance.

A frustrating but fascinating film, made by an evidently talented filmmaker, which never quite manages to resolve the tensions between its apparent moral purpose and the formal flair with which it depicts events it purports to condemn.

In two-and-a-half hours, a decade of Spielberg’s own life flies by. An autopsy of a marriage and a homage to invention, it’s a bittersweet piece of joy.

Though Cage and Armstrong’s father-daughter dynamic merits praise, The Old Way tries so hard to emulate Westerns past that it squanders a gilt-edged opportunity to do something new.

Mesmerising and mystifying, in equal measure. Enys Men confirms Mark Jenkin as one of the most exciting, original cinematic voices in the UK right now.

TÁR is a masterwork. A gripping, grown-up movie superbly orchestrated by Todd Field and perfectly played by a virtuoso, career-best Cate Blanchett. 158 minutes rarely flies by so quickly.

Carla Simón’s film is a tender peach itself. A lament for a world slipping out of reach is brought invigoratingly to life by a vividly drawn cast of characters.

It doesn’t quite successfully balance its warring tones, but a winningly grumpy performance from Tom Hanks — and a winningly sunny one from Mariana Treviño — ensures for a very watchable take on the ‘giving life another shot’ subgenre.

It’s hard not to get swept up in some evocative, gorgeously staged filmmaking here. But Empire Of Light often seems a little confused about what it is trying to achieve.

There’s just nothing quite like a good crime thriller. But, despite Banderas’ best efforts and some stylish camerawork, this is nothing like a good crime thriller.

Chinonye Chukwu’s restrained approach replaces dramatic fireworks with an absorbing, slow-burning study of a broken woman’s politicisation. She is superbly served by star Danielle Deadwyler, who transforms Till from a good film into a gripping one.

With impressive performances by McGraw and Get Out star Williams, and seamless technology bringing to life the film’s robot havoc-wreaker, M3GAN may be silly but it’s a toy story like no other.

A handsome murder mystery with a neat literary twist and an impressive turn from Harry Melling, but which is overcast by the gloominess of its protagonist and the implausibility of its revelations.

In what could have been a definitive tribute to Whitney Houston’s career, surface-level execution means her story is not quite done justice. But Naomi Ackie's performance shines above everything else.

A brilliant Vicky Krieps performance, ample surprises and a series of playful anachronisms elevate Marie Kreutzer’s period drama about a 19th century Empress above the ordinary. That, and a fine soundtrack to boot.

It might be a minor work from a major filmmaker but François Ozon’s remix of Rainer Werner Fassbinder’s classic has its pleasures, chiefly strong performances across the board, especially from Isabelle Adjani and the immense Denis Ménochet, embodying the German maverick without ever descending into impersonation.

A daring, formally audacious yet messy ode to cinema from one of the most enterprising filmmakers working today. Bravura and baffling in equal measure. Strap in.

James Cameron has surfaced with a cosmic marine epic that only he could make: eccentric, soulful, joyous, dark and very, very blue. Yes, he’s still leagues ahead of the pack.

Some wonderful visual flourishes and two brilliant central performances by Wright and Lawrence help to illuminate the Gibbons sisters’ headspaces. But without important context, true insight and understanding remains elusive.

It’s a simple but artfully effective debut feature from Irish filmmaker Colm Bairéad, with a remarkable, heartbreaking debut performance from Clinch, whose face betrays anxieties she doesn’t yet fully understand.

Though somewhat flawed and less artistically daring than it could be, Charlotte still makes for an emotional, humane viewing experience.