Wildly unpredictable, Barbarian begins as a tale of awkward circumstance, before mutating into something intensely claustrophobic, satirically amusing, and in its best moments, both.

Wendell & Wild marks the anarchic return of one of the most exciting directors in animation, retooling his idiosyncrasies in service of a boundary-pushing children’s horror with strong political messaging.

A tense true crime thriller that avoids schlock horror tropes in favour of a welcome focus on the environment that allowed one of America’s worst serial killers to operate freely for years.

An absurd, iconoclastic riot. Ruben Östlund’s point may be blunt — yep, rich people are bad — but his telling of it is hilariously, breathlessly entertaining.

Hilarious from start to finish, with two excellent leading men and dollops of queer joy sprinkled throughout, Bros hits classic romcom beats while giving the genre a refreshing, much-needed update.

A spry police procedural fused with an achingly intense romance, Decision To Leave keeps you off-kilter throughout, in the best possible way. Make a decision to see it.

An absolute shambles of a fantasy folly. Overlong, undercooked, and clogged with enough clichés that even its teen target audience will feel disrespected.

Big, dumb and only mostly fun, this doesn’t always find the right tone to marry action and charm, but Johnson’s remote and ruthless superhero is a welcome change from the norm.

Well-meaning but unfortunately misjudged, this clichéd melodrama is a minor stumble for Harry Styles’ continuing conquest of cinema.

The sharp economic filmmaking of this meta-textual satirical mystery is ultimately weighed down by its cleverness.

A thoughtful, meditative thesis on humanity’s relationship with nature, filmed with the kind of cinematographic beauty most fiction filmmakers can only aspire towards.

The Michael versus Laurie showdown delivers — but for the most part, Halloween Ends is an unsatisfying closing chapter for this continuity. In trying to grapple with the horror beneath Michael Myers’ mask, it gets lost up its own abyss.

Another stunning adaptation of the classic anti-war novel: epic and horrific, in equal doses. War has rarely felt this wretchedly, desperately pointless.

If O’Connor’s aim was to recreate a British classic, she has surely failed to reach those lofty heights. Mackey shows further signs of promise, but she’ll be better off elsewhere.

Amsterdam suffers from a surfeit of story detail without the vigour to whizz you through it. It has likable leads and the craft is on point, but the result, given all the talent involved, is a tonally uneasy disappointment — a romp that fails to romp.

This is just as unevenly plotted as the original, lacks even the element of surprise, and is not by any reasonable standard “good”. Between gooey and ghoulish, there must be better options.

Though it may be derivative, Smile still manages to be a scary, unsettling ride that’s powered by an impressively committed Sosie Bacon performance and some assured direction. Finn is one to watch.

A brilliant, bizarre, occasionally grotesque, horror-inflected cinematic delicacy. Sounds like a Peter Strickland film, then.

A small but effective portrait of adolescence in Scandinavia, unpretentious enough to avoid heavy-handed lessons, but not bold enough to become an all-timer.

Peter Farrelly’s latest semi-serious effort is light, goofy and sometimes perilously frivolous. But like sharing a few beers with your buds, you soon warm to it.

It may sound dismissive to call a film ‘nice’, but that’s exactly what this is. It’s beautifully produced, entirely uncynical niceness. If you’re after just a lovely time, come on in and put your feet up.

An apt tribute to a major figure in film history. The talking heads and archive clips do the job — but hearing it told by Sidney Poitier himself is the real treat.

Sidestep the somewhat over-egged stylistic touches and you’ll find a fun coming-of-age tale boasting three irresistible performances from Bella Ramsey, Billie Piper and Andrew Scott.

It Is In Us All is slight, sombre, and something of a slog, but features another strong turn from Cosmo Jarvis – and is still a positive indication of Campbell-Hughes’ potential behind the camera.

A creepy, compelling creature-feature packed with interesting themes, and carried by an impressive lead performance. Cracking stuff.

Proof that Netflix doesn’t just do Kissing Booth movies: given the right talent, they can produce a genuinely compelling high school comedy. And you thought they didn’t make ‘em like this anymore.

Strawberry Mansion is hugely ambitious, even more so because it doesn’t quite have the resources to realise its own dreams. Nonetheless, it’s a soulful, adorable and unique little trip.

Owen Kline’s debut is a hectic portrait of a volatile artist, swirling in a thick, uneasy atmosphere. Whilst there’s not much emotion to cling on to, the parade of uniquely absurd characters and agonising situations make it a real page turner.