Sonically flawless, authentically textured and deep-rooted in cultural significance, Summer Of Soul succeeds magnificently in capturing the scale, spiritual resonance and, yes, soul of the Harlem Cultural Festival. It will not be forgotten this time.

The most terrifying fashion film since The Devil Wears Prada, Deerskin is a deliciously ridiculous farce played largely straight. This is a jacket you will feel the benefit of.

The first film was so middle-of-the-road that most have probably forgotten it existed. Its sequel creates a more lasting impression, with vibrant animation and a wackadoodle sense of humour.

Stillwater mashes up quest-for-justice, father-daughter dramatics, fortysomething romance and mid-life introspection for a refreshingly adult drama. It doesn’t coalesce completely, but Damon and Cottin keep it engaging.

A solid if slight look at the quicksilver, complex character behind one of children’s literature’s most beloved creations.

Jeremy Hersh’s debut is naturalistic and well played. If it initially lacks momentum and oomph, the film becomes a multi-faceted look at issues surrounding surrogacy, anchored by Jasmine Batchelor’s central performance as a woman forced to make a life-changing decision.

The Truffle Hunters is a low-key delight, a poignant lament for a fading art that doubles as foodie heaven. Go on a full stomach.

It’s a short-film premise at a feature-film length, but few films take as many chances or go for broke as much as Jumbo. Wittock is an exciting new talent to watch, and Merlant spins something potentially laughable into a rollercoaster — or at least, waltzer — ride of emotions.

A darker middle act, Fear Street Part Two: 1978 lacks the verve of 1994 but still delivers enjoyable summer camp-based bedlam. Next up: 1666.

Fear Street Part 1: 1994 is a wild ride through ’90s horror tropes that somehow feels affectionate and fresh. It is, as they said back then, insane in the membrane.

Despite its wild premise — Chris Pratt goes to the future to fight aliens! — and considerable talent, The Tomorrow War is mostly just bloated blockbuster business as usual.

If it says nothing new about the dangers of over-indulgence, Another Round is funny and rich, a fresh, perfectly played, clear-eyed take on middle age ennui. Intoxicating.

It shouldn’t really have taken 11 years for the Widow to get her own standalone adventure. But thanks to some zesty new character dynamics and smart twists, Marvel have finally done her right.

French Exit boasts an assured cast but drab direction and lazy writing ensure the characters are never as eccentric, cutting or interesting as the film’s tinkling score would have you believe.

While not quite on a par with Happy Death Day, Freaky is an ebullient slasher that strikes a perfect balance of comedy and carnage.

Fatima raises some intriguing questions about faith but sadly fails to make us believe in anything more comforting than the climate of fear, distrust and grief that flourishes during wartime.

Sober and empathetic, Sweat understands how social media equally harms and helps those looking for love in the modern era. Magdalena Koleśnik’s performance is bound to make any woman online feel seen.

Supernova is a tender two-hander that gradually crushes your heart. What it lacks in cinematic width it gains in well-earned emotional depth, courtesy of delicate writing and two subtle but towering performances from Firth and Tucci.

Sensitively made, thought-provoking and ultimately moving, The Reason I Jump provides telling insights into the neurodiverse worldview. The result is a powerful documentary that presents life through fresh eyes.

Despite a muddled final act, Monster Hunter is satisfyingly efficient, a quick-fire thrill-ride of creepy thrills, nasty kills, and of course, monster-hunting.

A strange hybrid of Italian neorealism and fish-based fantasy, Luca is beautiful to behold but plays it too safe to make a real impact. Still, great CG linguine.

It’s a visceral experience; part survivalist drama, part slash-and-stalk thriller, filled with intensity and dread, all amplified by wild editing strategies (flash cuts, jump cuts, abrupt cuts to black) and strobe effects to stoke up the atmosphere.

Is this what Studio Ghibli’s future looks like? Probably not. But what Earwig lacks in animation elegance, it makes up for in sparky, kid-friendly adventurousness.

Lacking anything approaching originality, The Hitman’s Wife’s Bodyguard is a generic, by-the-numbers action-comedy sequel. Praise be for Hayek, who at least gives it gusto.

Hopkins is extraordinary as a man flailing against a condition that’s taking everything from him. And Zeller proves he’s a natural filmmaker, orchestrating a Wagnerian opera of emotion based entirely around an old man in a flat.

With Better Call Saul about to come to an end, Odenkirk switches gears with admirable ease, anchoring one of the most purely enjoyable action movies in ages. It’s not quite a case of Nobody does it better, but it’ll do until somebody does.

A perfectly painted portrait that also makes for sharp social commentary, this just goes to show what you can do with a tiny budget but a huge amount of talent.

Full of fascinating behavioural insights and moments that are both hilarious and adorable, this studied treatise on the personality and emotionality of domestic animals should provide plentiful food for thought.