Absorbing if not quite insightful, due to a fair degree of self-editing, this remains a moving, often melancholic document of a fabulous songwriter and singer whose legacy becomes ever more obvious as the years pass. A must for fans.

Despite a fun voice cast, this is a lazy effort that squanders its characters, and will likely bore anyone over the age of ten.

For its first half, Thirteen Lives feels like it is treading water, waiting for its big final act. Thankfully, the second half is a riveting depiction of a daring, foolhardy, inspired rescue.

Though solidly made and bolstered by the always-engaging Daisy Edgar-Jones and Harris Dickinson, Where The Crawdads Sing struggles to live up to the promising popularity of its source material. A flat, flair-free and uninspiring adaptation.

Buoyed by its leads’ fizzing chemistry and infectious spirit, Billy Porter’s directorial debut may be flawed, but its feel-good vibes and charm make it prime for comfort viewing.

She Will is meditative horror, parlaying modern concerns through a thick, ancient atmosphere. It perhaps has too much on its mind, but Charlotte Colbert’s debut works as an imaginative and unsettling calling card.

Filmmaker Bob Weide’s relationship with Kurt Vonnegut may detract from a more incisive critical portrait but it is sweetly etched, and the unparalleled access provides a comical, compelling profile of a singular figure in 20th-century American letters.

An ambitious, provocative swing, Nope feels like that increasingly rare beast: an original blockbuster. Unspooling a horrific parody of Hollywood’s hubris, it’s a crowd-pleaser that wonders about the cost of pleasing a crowd.

Perhaps not as heart-warming or charming as the first film, The Railway Children Return is engaging and entertaining in different ways, winningly played by its fresh cast.

The talking heads aren’t particularly revealing and there are some strange filmmaking choices. But McEnroe makes for incredibly likeable company and the tennis, as ever, remains sublime.

Tinkering with the spy-action wheel rather than reinventing it, this is a pacy, ruggedly entertaining romp, with a punchy pair of lead turns from Gosling and Evans.

Made with genuine affection and innately British whimsy, this is really just an odd-couple comedy about two lonely blokes — one of whom has a “washing machine for a tummy”.

It may have a tenuous relationship with nuance, but RRR is a bombastic delight. Making the Fast And Furious series look restrained by comparison, it hits the parts Hollywood actioners just can’t reach. Rise! Roar! Revelation!

An exhaustive yet still superficial and queasy look at the awful liberties the world took with one woman’s life and image — and is now doing all over again.

Weirder than Ragnarok, but incredibly sincere in its outlook, Taika’s Thor-quel is a big, beautiful blast. You’ll love it, and probably thunder it too. What a classic Thor adventure!

Exceptional performances, particularly from Caleb Landry Jones in the lead, and a sensitive touch from director Justin Kurtzel can’t shake the unease of giving yet another cinematic spotlight to a real-life mass murderer.

Like the Minions, this instalment is barely distinguishable from any of the others, but it’s easy to be won over by its nutty joy and enthusiasm.

This is everything you might expect of a Baz Luhrmann biopic. It’s brash, loud, maximalist, and certainly never boring, but also keeps its subject at a distance, enthralled by his glamour not his soul.

Despite its darker-than-dark premise — Abduction! Dead kids! Imprisonment! — The Black Phone finds hope in the midst of the horror. Looking for soulful scares this summer? Answer the call.

Raiff’s assured and intelligent writing and direction, paired with the strength of its acting ensemble, make this an irresistibly charming, emotionally rich treat.

Deftly handled direction from Sophie Hyde and a thoroughly impressive dual performance from Emma Thompson 
and Daryl McCormack enlivens an electric script, tackling taboo sexual subjects with wit, flair and welcome realism.

Though not always as profound as it aims for, Swan Song is a tender, warm-hearted reflection of a life well lived. If it’s possible for a prolific septuagenarian to be a revelation, Udo Kier is exactly that.

Combining comedy, cringe and creepiness, All My Friends Hate Me is a short, snappy and seriously entertaining spiral into peer-related paranoia.

Hustle follows a familiar game plan but executes it well, with a love of basketball culture shining through — alongside a likeable Sandler performance.

Despite its messy plot and underwhelming villain, the strong voice performances and stunning visuals — and, of course, Sox the cat — make Lightyear a solid space adventure.

Some summer anti-programming arrives in the form of a highly talky, at times upsetting prison drama — think Fortress meets Limitless. You can feel the strain of its expansion from novella form, but it’s just about worth a visit.

If it doesn’t hit the Top Gun: Maverick heights of legacy sequels, Jurassic World Dominion is scattershot but entertaining, delivering fun, familiar set pieces. Come for the delight in seeing Neill, Dern and Goldblum together again, stay for the bit where a bloke on a scooter gets eaten.

Just missing out on top-tier Hansen-Løve, Bergman Island is beautifully played — especially by Krieps and Wasikowska — and retains all the hallmarks of her best work; an intelligent, personal, heartfelt treat.