The Outfit follows a pattern set by countless gangster flicks of the past, but its freshness is in the intelligence and surprise of the script. Like a well-made suit, it’s not old-fashioned — it’s classic.

Showing how paradise can be hell, this audiovisual treat is spiritedly played by its leads and bristles with a brooding menace that can't quite disguise the story's essentially melodramatic nature.

The Secrets Of Dumbledore doesn’t quite cast a Potter-like spell — but with solid action and moments of genuine heart, it delivers a little light in the Wizarding World’s darkest hour.

Judd Apatow’s broadest film yet is a patchy collection of Covid-themed comedy cock-ups — but a talented ensemble of performers means you’re never too far away from your next laugh.

Despite solid performances and flashes of promise, Morbius is a flat, forgettable affair, failing to deliver an anti-hero origin story we can really sink our teeth into.

With some gorgeously stylised animation and sharp comedy making up for its somewhat lightweight storytelling, The Bad Guys is... not bad.

Günther executes stray powerful moments, but his lack of a handle on the material leads to two hours so meandering that the story drifts away in a haze of boredom.

A dreamlike time capsule of a historic event, told from a kid’s perspective and rendered in beautiful animation — only Richard Linklater could have made this film.

It says little that is new and lacks heat, but Wilson and Burke inhabit a compelling mismatched couple, with Wootliff finding cinematic ways to get under their skin. A flawed but admirable attempt to take the temperature of a dark, modern relationship.

This is simply more fairly generic and forgettable family fodder.

Michael Bay’s tribute to the emergency services (which involves blowing several of them up) is noisy, messy and frequently absurd — yet still somehow his most gleefully entertaining effort in at least a decade.

The Spine Of Night is here to satiate the cravings of those who miss a particular brand of animated storytelling, updated with added psychedelic fervour and plenty of extra-gnarly bloodshed.

A truthful, tender masterpiece about how coming of age has no age-limit — love, for others and for ourselves, is what makes every risk and loss worthwhile. Rarely has a story like this been told as beautifully.

Well-performed, especially by Regina Hall, and directed with real flair and intention by Mariama Diallo, Master transcends its two-dimensional opening to become a complex, character-driven horror with much on its mind.

Though its core concept is executed well, Black Crab’s dour tone, shallow writing and derivative plot-beats make for a movie experience that leaves you as cold as the ice its characters are forced to skate on.

Short, sharp and mostly satisfying, this is a thriller that sticks to the stripped-back fundamentals of the genre — no more, no less.

Hive cooks up a beautifully delicate rally for independence and justice, brought out through precise processes of the communal culinary experience. Although not entirely well balanced, it makes for nourishing, inspiring viewing.

Sharply written, beautifully shot, but confusingly paced, Paris, 13th District is an enjoyable if forgettable snapshot of modern love and relationships.

It’s as subtle as a sledgehammer, but Fresh’s audacious storytelling, full-throated performances and accomplished direction make for a tasty, wildly entertaining concoction. Deliciously deranged stuff from Mimi Cave and writer Lauryn Kahn.

Filmed over 13 days in Tuscany and based on genuine Balkan Route testimony, this is an innovative, immersive insight into the migration crisis that also reveals much about human depravity.

What The Phantom Of The Open lacks in ambition or dramatic oomph, it makes up for in easy-going appeal. Anchored by an impish Mark Rylance, it takes its cue from the story’s hero: a bit ramshackle, very amiable, always watchable.

West’s frightfilms are playful — a stereotype is inverted as guys wander half-naked to their doom like stereotypical slasher starlets — but run to serious scares. X is a properly satisfying shocker.

Despite his erotic thriller credentials, Lyne makes a tepid return to the director’s chair with a rather basic adaptation of an intriguing marital character study that Affleck struggles to enliven.

Though a forgettable villain and some uninspiring set-pieces sometimes hinder The Adam Project, Reynolds and Scobell’s cracking performances and the film’s surprising emotional depth make it worth a look.

A beguiling and beautiful film about a total toerag, Red Rocket is a unique character study: Mikey Saber will charm your socks off, and you’ll hate him for it.

A daring, distinctive and downright delightful debut from Domee Shi, and a welcome change of pace from Pixar. Turning Red is, appropriately, its own beast — and one that’s easy to love.

A compassionate and tenderly performed love story, with a musical current coursing through it. British cinema is lucky to have Clio Barnard.

Bruising and beautiful in equal measures, La Mif is an impressive slice of social realist drama that feels rooted in something real — because it is.