An early entry into documenting Covid-19, Totally Under Control doesn’t have all the answers, but it is a vital, powerful examination of how one political administration could get something so wrong by ignoring the experts.

A holiday romance perfect for the dark nights with the added bonus of a flashback structure that builds genuine intrigue into the outcome. It also includes a use of Rod Stewart’s ‘Sailing’ that guarantees its place on your 2020 movie playlist.

As shocking as it is hilarious, as ridiculous as it is insightful, Borat Subsequent Moviefilm is the comedy we both need and deserve right now.

A supernatural, effects-laden yarn like this is right in Robert Zemeckis' wheelhouse. Which makes it a little disheartening that it’s merely good, rather than great. Dahl's story still sings, but like a potion missing eye of newt, this new take is slightly undercooked.

Time may be shot in black and white but the world it captures is anything but clear-cut. By turns moving and angry, it’s a thought-provoking hymn to love, family and the power of Black female courage.

One of the best British horror debuts in years, populated by well-drawn characters and a particularly nasty spirit. If you get a chance to move into His House, take it.

The film doesn’t quite trust the magic of the garden, adding visual dazzle and, sometimes, artificiality, but when the film relies on the kids and their relationship it still finds the book’s magic.

Netflix wants to prove it can do what Disney does – and it more or less succeeds. Vibrant and heartfelt with tunes to boot, there’s plenty of love in Over The Moon.

This is Ben Wheatley on a different register: a bigger scale, a more mainstream approach. There’s much to like — but the shadow of Alfred Hitchcock looms large.

Whilst I Am Greta succeeds as a chronology of Thunberg’s meteoric rise from lone protestor to the voice of an international movement, a more nuanced, detailed and definitive exploration of this extraordinary teenager still feels needed.

A small but neatly formed horror oddity that prises suspense out of a familiar parental worry: is the person my child has fallen in love with who they say they are?

If it’s psychological horror you love, Nocturne will be music to your ears. If not super-scary, Quirke’s film is an accomplished, uncomfortable tour de force.

While not quite offering the emotional gut-punch it promises, its many ideas never completely cohering, Soul is nevertheless a gorgeous and tender existential trip. It’s full of surprises.

A witty and likeable horror-comedy that manages to put a stake to the heart of some real issues while it tickles your ribs.

The concept of combining Adam Sandler and horror is not a bad one. But this is no Abbott And Costello Meet Frankenstein. Instead, Hubie Halloween inspires mild dread for all the wrong reasons..

Although its intentional twist on age gaps, sex and gendered dynamics is provocative, Nocturnal can’t quite hold the interest for its whole running time — in spite of a brilliant performance from Cosmo Jarvis.

A watchable tale of parental dread, propelled by a strong conceit and sustained tension — but let down by its outlandish twist.

While it never descends into the nightmare its premise threatens, Black Box is a solid thriller that benefits from strong performances and a screenplay packed with philosophical anguish.

A brilliant Sally Hawkins stands atop Craig Roberts’ perceptive look at mental illness. Small but beautifully formed.

Strongly acted and effectively staged, The Boys In The Band has lost little of its impact in the five decades since its first debut, and is a fitting tribute to its creator Mart Crowley, who died in March.

A fiery condemnation of the police state and government overreach, this is both timely and timeless. Sorkin and a superb cast make legal proceedings compelling, and then show that the law is an ass.

Knightley and Mbatha-Raw headline an excellent band of British talent, but the film’s focus feels sadly misguided. There’s a great story within Misbehaviour — we just don’t get to see enough of it.

Lighter and slighter than we may expect from Coppola, On The Rocks is an eminently charming, gorgeous portrait of a daughter, wife and mother finding her way back to herself via the streets of New York City.

A search for freedom and a sororal spirit pulse through Miss Juneteenth. Calmly navigating the intersections of a Black, working-class, American woman, Peoples ensures care, heart and hope are in every step.

The Eight Hundred bites off more that it can chew but it consistently serves up gripping filmmaking on the biggest canvas.

You will seldom find a film that cuts open a city and shows you its insides like Rocks does. Respectfully crafted, righteously funny and tender, Gavron has defined a generation like no-one else, and these efforts are not to be ignored.

Cuties is a thematically bold yet nuanced study of displacement and duty that deserves to be seen as an auspicious and astute debut, not the source of scandal.

A mixed bag of bones and bodies, whose Southern Gothic atmosphere and superb performances — from Holland especially — are let down by the film’s lack of narrative focus.