In his final and perhaps most personal Small Axe chapter, McQueen superbly rounds off a succulent portrayal of the resilience of Black British people ending where it matters most — the youth.

A moving exploration of the realities of growing old, Maite Alberdi’s documentary effectively blends documentary with dramatic elements to charming, if not always transparent, effect.

Bolstered by Lee’s trenchant, intimate direction, Byrne reframes a peerless setlist of songs as a testament to hope and humanity that implores himself and his audience to keep going. A much-needed source of comfort and joy.

It never quite tumbles into Wonderland, but the ambition at play — and a top cast of supporting players — is just enough to let Come Away off the Hook.

Let Him Go starts languid and builds to a tonally at-odds finale, with its stars looking curiously unengaged. This is what happens when slow burning never really catches fire. Still, Lesley Manville is on fire as a memorable backwoods-y crime boss.

A vibrant and virtuous adventure packed with all the heart and heroism we’ve come to expect from DC’s shining light. Wonder Woman 1984 really is the hero 2020 needed all along.

Swinging between ice and space, Clooney has upped his directorial ambition and delivered a big-scale, big-hearted story, even if it struggles to match the films it riffs on.

The Prom is a loud, proud glitter-ball of a film, and doesn’t pretend to be anything else. It stumbles in the second half and the relentless cheer is a little exhausting, but its energy and wit remains infectious.

Its mix of coming-of-age and homecoming stories doesn’t fully gel, but Uncle Frank is a funny and entertaining road movie with likeable performances – just brace for a closing dollop of sentimentality.

Part mystery, part black comedy, part metaphor for loss, Patrick is a nakedly true original. It also has the best caravan fight since Kill Bill Vol. 2.

Boseman and Davis deliver superb performances in this timeless meditation on Black art, and those who would exploit it. Yet another fine adaptation of an August Wilson play.

An ode to impossible expectations, pride, bravery and loyalty, Happiest Season wraps up everything you could want for Christmas in a neat, thoughtful little bow.

Displaying a more light-hearted and impressionistic hand than usual, Steve McQueen’s second Small Axe film is a woozy, musical fever dream with wit, sexiness and one unforgettable extended singalong.

A potentially trite tale of an unlikely relationship is lifted immeasurably by Sophia Loren and is best viewed as a testament to the true power of the movie star.

Lord knows how it all connects, but there's a strange power in how About Endlessness flows, jumping around the whole spectrum of human experience and the ridiculous places to which our emotions push us. Andersson's pigeon is at flight once more, and cinema is a richer place for it.

Beautifully shot and subtly delivered, Monsoon offers a poignant picture of the emigrant experience as well as Vietnam’s post-war hangover, while cementing Henry Golding’s position as a leading man to watch.

It’s silly and a little too slow, but the characters are enormously charming and the design is overwhelmingly sumptuous. It should give viewers, especially children, a welcome hit of Christmas magic.

In spite of A-list acting and directing talent, this is a tick-the-boxes recovery and redemption true story that never rings true.

Impassioned, sensitively acted and supersized in scope, Steve McQueen’s tribute to the Mangrove Nine provides a pulsating Black British history lesson — and kicks off his Small Axe anthology with an urgent bang.

Shot in stunning black-and-white, Mank delivers Hollywood in a multitude of greys. Built on a towering performance by Gary Oldman, it’s smart, sophisticated, by turns thrilling and difficult, and amongst Fincher’s best.

While it doesn’t quite boast the bullet-train speed or slickness of the original, it’s not a cheap replacement bus imitator, either.

As well as a gifted photographer, Rock is a raconteur, with the subjects of his stories needing no introduction. But the real stars of the show here are his pictures, and that is as it should be.

Looking to cast a spell of its own, The Craft: Legacy tries some new tricks. It’s just a shame that for all the worthwhile additions, it’s sometimes more toil than bubble.

Generic title, strong movie. Relic is smart (but never smart-arse) horror. What it lacks in incident it makes up for in a troika of top turns and tangible tension in service to an interesting parable about the gnawing effects of dementia.

A treat. With astonishing craft and visual storytelling that howls from the screen, Cartoon Saloon have surely secured their place in the animation hall of fame.

Part psychological horror, part erotic thriller, with none of the conventions of a biopic, Shirley will keep you enthralled (and guessing) until the very last second.

Culturally rich and emotionally raw, Mogul Mowgli is a brilliant showcase for Riz Ahmed’s bevy of talents, and speaks visceral truth to the British-South Asian experience so rarely explored on screen.

Uneven, immature and a little derivative — but entertaining performances from Olivia Cooke and Alec Baldwin keeps Pixie watchable.