Well-intentioned if sometimes lacking in subtlety, Enola Holmes offers a fine, spirited reminder that a traditional story can always be retold — although it might need more refined teachings on feminism next time.

Don’t confuse it with Russell Crowe staring out of a window. After a patient build-up, Les Misérables becomes a Molotov cocktail of a movie, tense, explosive and urgent. A powerful fiction debut from documentarian Ladj Ly.

Niki Caro’s boldly reimagined, battle-laden saga belies its Disney status and spotlights the multifaceted star power of Liu Yifei. The result is a live-action remake done right.

Despite a game cast, The New Mutants’ horror elements aren’t very scary and as a superhero movie it fails to truly excite. A disappointing finale to Fox’s X-Men franchise.

Reeves and Winter look like they’re having a blast getting the band back together in a fun but forgettable time-travelling comedy. Neither bodacious nor bogus.

Get Duked channels both Trainspotting and Deliverance to create a scattershot shotgun-blast of gags, gore and bedlam. Winningly performed by its young cast, it’s a (laminated) calling card for director Ninian Doff.

Bleak, bewildering, and a bit bonkers. Kaufman’s uncompromising originality is always welcome — but you’ll need time to let this one percolate.

Unnerving and compelling in equal measure, Amy Seimetz’s film is an exploration of how fear and paranoia can spread like a disease, and how the acceptance of one’s mortality remains the most terrifying thing of all.

An impassioned and imperfect portrait of teenage grief and heartbreak, Chemical Hearts takes its audience seriously. For every teenager who has ever felt alone, this feels like a tailor-made care package.

A relatively subtle yet moving entry into the Dolanverse, where explosive love is sublimated beneath the ebb and flow of friendship rhythms, and characters are revealed in tender observational details.

If it thematically bites off more than it can chew, Random Acts Of Violence is a full-on, visually arresting horror. What it lacks in chills, it makes up for in ambition and style.

Successfully mining the awkward humour of the adolescent experience, Karen Maine’s coming-of-age feature makes the most of a strong central performance from Natalia Dyer.

Part political drama, part history lesson, part gripping spy thriller, Coup 53 gives what has been relegated to a small footnote in Iran’s story the big, expansive, dramatic treatment it deserves.

Once again seizing control of the medium, Nolan attempts to alter the fabric of reality, or at least blow the roof off the multiplexes. Big, bold, baffling and bonkers.

Project Power has considerable style yet a disappointing lack of substance — but an attention-grabbing performance from Dominique Fishback and an intriguing twist on superpowers give it just enough juice.

In a concrete Russian military facility, no-one can hear you scream. Sputnik offers obvious time-honoured sci-fi/horror shenanigans with a few fun tweaks to the formula.

A forced, over-ripe satire on the hunger for social media, bolstered by an engaging performance by Joe Keery. But if you really want to feel the real-life impact of the ’Gram on a young psyche, stick with Eighth Grade.

Shannon Murphy’s debut film is a refreshing take on a familiar subgenre, offering a nuanced depiction of a family dealing with the worst-case scenario with humanity and sweetness.

A committed performance by Thorne along with some moments of directorial flair can’t offset the frustratingly dumb characters and shallow analysis.

A return to form for indie darling Drake Doremus, who brings his nuance, sensitivities and homespun feel to a formulaic love-triangle set-up. Jamie Dornan, Sebastian Stan and especially Shailene Woodley make it very watchable.

Young Ahmed might be major filmmakers in a minor mode, but it is still a riveting, beautifully made character study that provokes compassion and controversy in equal measures.

Part time-travelling family drama, part idiosyncratic immigrant-adventure comedy, An American Pickle’s gags underwhelm, but its emotion and originality will surprise you. One of oddest films of 2020 so far, buoyed by two superb turns from Rogen.

An adrenaline-spiking fresh take on a well-worn horror format, Host transcends its high-concept premise to deliver original ideas — and scream-worthy surprises.

In spite of what may seem like a direct-to-VOD vibe, this is a slick, nasty thriller with a throwback quality, neither too self-serious nor too self-aware. While it’s not especially fresh, it’s still solid genre filmmaking.

Just as she did with Lemonade, Beyoncé proves herself a master of the visual album once again with a timely and vivid meditation on Black pride. The film it’s born out of may be forgettable, but this is quite the opposite.

Wisely focusing on four key cases, The Fight is a worthy attempt to document the ACLU’s seemingly endless struggle to challenge the many constitutional violations of the Trump administration.

Claire Oakley has created a vivid sensory experience out of limited means. Make Up is anything but cosmetic — it gets right under the skin.

An unconventional and imperfect first work of a career that would have been fascinating to watch unfold, Jóhannsson’s images are just as strong as his typically excellent, haunting musical composition.