So insubstantial it may not actually exist, The Mule is very much the latest in a long line of minor Clints. But it might help pass the time on long journeys. Just make sure you don’t watch and drive.

On Her Shoulders is a compassionate, level-headed portrait of a remarkable woman. What it lacks in filmmaking fireworks, it makes up for in the sheer magnetism and moxie of its hero.

Regardless of the skittish structure and illegible subtitles, this is a valuable reflection on an incalculably influential career, which serves as a timely reminder about the pitfalls of artistic tyranny.

A moving hymn to outsiders, this thrives on two criminally good performances from Melissa McCarthy and Richard E. Grant. It also confirms Marielle Heller as one of the brightest directorial talents around.

A supremely likeable film. Its message might seem obvious and its template overcooked, but it boasts a warm heart, with two astoundingly good lead performances to guide it home.

Slow and difficult to get a hold on, Burning emerges as a brilliantly made one-off; puzzling, intelligent and ultimately mesmerising. And Jong-seo Jun is a revelation.

DreamWorks Animation’s most heartfelt series bows out with a beautifully designed finale, but the long-awaited emotional goodbyes for its beloved central duo don’t quite soar.

One Cut Of The Dead is a true original, a fresh take on the zombie apocalypse drama and much more besides.

The ham-fisted lessons and wacky adventuring are just a skeleton on which to hang the meat of the thing: gorgeous, stunningly realised animation; frequent self-referential shrewdness; and still some of the wildest, most surreal jokes you’ll find in any movie.

A grim, dour dive into one LA cop’s unravelling, which centres on a truly transformative performance from Nicole Kidman.

It doesn’t do anything different from the original, but the upside to The Upside is two strong, winning performances that keep you going down a well worn path.

A based-on-fact family drama whose truths may hit too hard for some, but are worth suffering if only to witness Timothée Chalamet’s performance.

Essentially a Split sequel with an Unbreakable topping, this is weaker than either of those films but still has a decent amount of entertaining and creepy sequences, most of them due to McAvoy’s high-commitment performance.

Challenging the truism that you can never go home, this doesn't entirely integrate its political subtext. But the storylines are involving, the setting is picturesque and the performances are impeccable.

A sharp-witted and wide-reaching account of a bright political hope’s fall from grace, with an impressive ensemble cast and a great performance from Jackman.

Coogan and Reilly’s performances are among the best either has ever given. This film, which pays wonderfully funny tribute to two comic legends, richly deserves them.

It's a film that bores straight into your soul and leaves you shattered, but somehow richer for having seen it.

Despite good moments and an ambition to reach for the profound, Life Itself settles for trite, sentimental and patience testing. A killer cast deserve better.

This is the origin film we really need right now. Directors Cohen and West have brought a liberal trailblazer’s fascinating and largely untold story proudly into the spotlight.

Baalsrud never claimed to be a hero and the emphasis of this gripping reconstruction rightly falls on the resourcefulness, courage and self-sacrifice of those who epitomised the spirit of resistance.

All the affairs and scandals that a French literary genius could wish for, with the bonus of a modern heroine and a story that acknowledges the diversity that has always been with us.

Contrivances and clichés abound, but Bird Box still manages to be a compelling, high-concept idea thanks to Bier’s faultless direction and impressive cast.

A genuine oddity, Welcome To Marwen may not hit the emotional highs but mixes high-concept fun with a sincere attempt to describe trauma in an original visceral way. And Zemeckis’ filmmaking remains exemplary.

If you’re not fond of Lopez’s soapier films (hello Maid In Manhattan) this might make for queasy watching, but stick with Second Act for its smart reframing of a city Cinderella story that retains its sense of humour.

Weird, dirty but accessible, The Favourite is a perfectly performed, thrillingly made period picture that morphs before your very eyes. Come for the top-drawer hi-jinx; stay for a moving look at human foibles and frailties.

You’ll need a magnifying glass to find the jokes in this send-up of other, better Holmes screen adaptations. With stars this funny, there are inevitably some moments of mirth (several of them onion-based), but it falls well short of their previous team-ups.

An absorbing, well-acted psychological thriller that loses its grip as it slips into sensationalism.

This is daring, dangerous and dizzying stuff, the story of a one man simultaneously in competition and cooperation with nature. Meet Tom Cruise’s hero, probably.