Featuring strong performances and excellent effects work, The Vigil is a genuinely creepy debut which explores the ways in which our psychological demons can get their claws into our entire lives.

Jacki Weaver is excellent in this colourful culture-clash comedy which, despite an uneven tone, offers a welcome message about the power of love and acceptance.

If it fails to mine the deeper themes in this story about a working-class writer fighting to find her footing in the music industry, How To Build A Girl is a resounding success as a showcase of Feldstein’s capabilities in a leading role.

Fresh, funny and frank, Saint Frances is a welcome shake-up of tired genre clichés; a messy, uplifting story about a woman who may not have everything figured out, but is fully in charge of her own fate.

Even if it hits well-worn beats, Come As You Are still shines a light on the oft-ignored sexual wants and needs of the disabled community, with humour, empathy and poignancy.

Alfre Woodard gives an unforgettably moving performance in Chinonye Chukwu’s slow-burning, perfectly observed drama about the repercussions of state-sanctioned violence, in which the stakes could hardly be higher.

Part film industry satire, part winning love story, Benjamin is low-key and shambling but emerges funny, bittersweet and affecting.

A forgettable fantasy cheapie whose gruff earnestness feels hollow thanks to the unforgiveable thinness of its story and the weakness of its grip on its source material. Oh, and a note to whoever came up with the title: neither Arthur nor Merlin are knights of Camelot.

What Above Suspicion lacks in flashy direction, it makes up for in strong performances and gripping true-life material to draw from.

Feeling like a relic from the wave of ’90s crime ensembles that followed in Tarantino’s wake, Arkansas not only squanders some good talent, it’s a tragic waste of a fine book.

It cleaves closely to the familiar, but Finding The Way Back scores points by finding different beats within the formula and from a great Ben Affleck performance.

Zoinks! The Great Dane’s big-screen return has murderous robot bowling pins, escapades in abandoned amusement parks and exciting airborne chase sequences — but nowhere near the joke-rate an enduring character like Scoob demands.

A serious, well-intentioned slice of WWII naval history full of compelling detail and good action but lacking the dimensions and dynamics to make you truly feel it.

Despite some solid action beats and a story that skips from Sudan to Afghanistan, Paris and, finally, Guildford, The Old Guard is a trite revenge/conspiracy yarn, clumsily told (“That woman has forgotten more ways to kill than entire armies will ever learn”), and squanders a potentially engaging conceit.

A compelling curio from Werner Herzog, who investigates a strange real-life phenomenon through a fictional lens. It's worth watching, especially if you enjoy Herzog's lateral take on life, but it's hard not to wish he'd just made it as a straight documentary.

Clouzot achieves an analysis of the human condition at least as bleak as Huston's The Treasure Of The Sierra Madre but without the grandstanding speeches and with more subtle performances.

It was always going to be hit-and-miss, but Homemade flits between creativity and indulgence in documenting the current crisis. If you want to cherry-pick, Larraín, Lello, Nyoni and Sorrentino’s efforts are top of the class.

Entertaining, energetic and unfailingly smart, this is theatre at the highest level, performed by a cast without a weak link. You can’t say no to this.

Lost Transmissions is a clear-eyed view of schizophrenia, aided by a powerful Simon Pegg performance yet hamstrung by some woolly filmmaking and a whiff of pretension.

Unputdownable documentary that evokes the thrill of reading preloved pages and reveals that a passion for collecting is not just a hoarding instinct, but a way to preserve and share culture. 

The votes are in, and it’s official: this largely unfunny paean to Eurovision is a waste of some serious talent. At least some of the songs are decent.

A captivating and comprehensive overview of trans representations in the media that everyone should add to their Netflix watchlist.

Scabrous, watchable and deceptively provocative, Jon Stewart’s political parable may be slightly out of step with the political reality of 2020 — but Carell and Byrne do enough to earn your VOD vote.

Inmate #1 might lack depths and dimensions, but for fans, this documentary is a machete-sharp glimpse into the life of a cult icon.

Resistance fails to commit to anything: too confused to honour its hero, too generic to shine a new light on a crucial moment in history. Somehow, such a remarkable story is here made forgettable.

It’s a potentially mid-’90s B-movie premise, but director Patrick Vollrath and star Joseph Gordon-Levitt keep it taut, tense and classy. Just a shame it doesn’t stick the landing.

An overqualified adult cast and some fun moments can’t entirely compensate for a defanged protagonist and too-static plot. This fantasy desperately needed a little more magic.

Though sometimes messy and freewheeling, Da 5 Bloods is a fascinating, frequently gripping and powerful interrogation of the connection between American imperialism, anti-Black racism, and the widespread trauma of the country’s war-making.