Amped up for the big screen while maintaining its sense of heart and with lashings of charm and gentle comedy, Bob’s Burgers proves more than worthy of the feature treatment.

Despite the nobility of its intentions and commitment of its cast, this would-be treatise on gig economical iniquity winds up patronising the very ‘invisible people' it's supposed to be championing.

Part thriller, part character study, Cordelia is eerie and atmospheric, putting you in the fractured headspace of its desperate lead. An impressive dual achievement from co-writer/star Antonia Campbell-Hughes.

An effective and unsettling allegory for growing up, this is the kind of low-key horror that will make you look twice at cherub-faced youngsters.

Far from a puff piece, a no-holds-barred, melancholy, often surprising examination of Norway’s most famous — and underrated — musical export. A must for fans — but prepare to brace.

Another diagnosis of the sickness of an over-armed, money-guzzling police force, Emergency sometimes struggles to combine its cinematic form with its messaging. But there are just enough moments where it all comes together to make it feel like worthwhile viewing.

Benediction finds both sorrow and hilariously withering wit in the eventful 
life of a famed wartime poet, offering some of the sharpest, nimblest dialogue of writer-director Terence Davies’ estimable career.

Reminiscent of The Happytime Murders but actually watchable, this zippy, highly amiable rodent noir turns out to be 
a delightful surprise. It flings a lot of ideas at the screen — and most of them stick.

Only a thrilling throwback synth score from John Carpenter keeps this inferior, modernised take on Firestarter off the lower end of a list of Stephen King adaptations.

Strong performances carry this unyielding portrait of dementia and elderly suffering that marks an interesting shift for Noé, but its relentless efforts to inflict sorrow and pain can feel overdone.

Mark Wahlberg is convincing and committed as a foul-mouthed Father, but this is ultimately just religious propaganda — preaching exclusively to the converted.

Avoiding the danger zone of mere retread, Kosinski and co deliver all the Top Gun feels and then some: slick visuals, crew camaraderie, thrilling aerial action, a surprising emotional wallop and, in Tom Cruise, a magnetic movie-star performance as comforting as an old leather jacket. Punching the air is mandatory.

Musically sublime, gracefully directed, and filled with an inspiring optimism that couldn’t be more timely, this is another first-class exercise in capturing music on film from Dominik, Cave and Ellis.

A pure firework display of technical bravado, wild invention, emotional storytelling, comedic genius, action mastery and outstanding performances, Everything Everywhere All At Once is everything cinema was invented for.

It follows the rules of the genre as unwaveringly as its hero follows orders, but despite that, there’s a tense, tightly constructed thriller here — and Chris Pine makes a decent play as a neo-Bourne.

Alex Garland once again shows an unmatched ability to conjure a beautifully uneasy atmosphere, the sense of which lingers on past the closing credits — but the substance underneath doesn’t quite connect.

Marvel's most deranged and energetic movie yet, as much of a winning comeback for director Sam Raimi as it is a mega-budget exercise in universal stakes-raising.

Casablanca Beats hits a lot of clichés on the educational-drama cue sheet, but still manages to find bracing new variations on the formula. The lesson plan is familiar, but it’s still worth attending this school of rap.

Soapy it may be, but for those who’ve poshed it up with the Crawleys since the very start, this is an affectionate, escapist hug of a movie — like being wrapped in a doily.

A claustrophobic portrait of pre-adolescent turmoil, this is an exceptionally taut drama. It’s Wandel’s debut feature, and it feels like she’s been preparing for it her whole life.

More than a biopic or period-piece, this is a stylish time capsule reaching into the present with unnerving clarity. Abortion care is still so hard — this film makes that fact sink into your bones.

A big, silly, scrappy bundle of fun, packed with Cage-related Easter eggs and in-jokes, but also a whole lotta heart.

A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal.

A remarkable, first-hand insight into how a modern-day police state operates, and how any kind of meaningful opposition can exist — as terrifying as it is hopeful.

Though occasionally undone by its Sunday-teatime tendencies, this is a spirited and gently entertaining slice of wartime espionage, with sharp, wry performances from the ensemble cast.

Sandra Bullock and Channing Tatum make a sweet and spiky couple in this likeable caper. It’s never going to challenge The African Queen for quality, but it offers 
a consistently good time.

A funny, filthy, iconoclastic riot. Paul Verhoeven’s latest erotic satire won’t be for all creeds, but it is bursting with enough ideas that even doubters can find something to believe in here.

This is intimate, culturally rich storytelling on a brutally epic scale. Skarsgård is in his element, bolstered by a sensational cast throwing themselves headfirst into Eggers and Sjón’s awe-inspiring vision. A cinematic saga worthy of the ancestors.