Quan is typically charismatic in a film that underserves his talents: an action-comedy with a solid amount of the former, but not much of the latter.

Understated performances and unflashy filmmaking coalesce into an absorbing mixture of the personal and the political. It may take its time but, given the circumstances of its making, this is an extraordinary achievement.

Moving, enlightening, but above all entertaining, this is a worthy tribute to a prolific talent that fortifies our appreciation for Vandross and his art.

Compelling and excellently acted, September 5 is a shining study of journalistic integrity, even if it skips some of the bigger and more important questions raised by the event it documents.

The film is let down by an approach that goes for impact over insight, but Last Breath is a worthy entry to the ‘hostile environment’ documentary subgenre.

There’s amazing beauty to be found in Naoko Yamada’s aural odyssey – even when a film about matters of the heart gets a little caught up in its own head.

Don’t expect the true terror of Perkins’ Longlegs or King’s source story. Do expect plentiful gags to make you, well, gag. The best scenes here are a gory glory.

Not as funny as you’d hope – and yet the emotional character work pays off, right down to a sweet epilogue. Romcom fans should attend.

The founding of a comedy institution shot as a madcap thriller, Saturday Night glides over the surface rather than drilling deep, but it’s largely a hell of a fun 109 minutes.

A gruelling but ultimately rewarding experience, this is Leigh at his most confrontational, devastating and humane, aided by the unadulterated power of Jean-Baptiste’s career-redefining performance.

Despite a handful of cool moments, The Killer’s Game turns out to be one not worth playing.

It won’t win any awards for originality but Flight Risk is a fun, unpretentious, tight 91 minutes — especially if you’ve always jonesed to see Downton Abbey’s Lady Mary cream someone with a fire extinguisher.

Entertaining if inconsequential, Companion is buoyed by solid central performances from actors that seem keenly aware that it’s all just a bit of bloody fun. Viva la robot revolución!

Less a Star Trek movie than a middling pilot episode setting up a series that will never come, Section 31 makes for a disheartening send-off for a once great character.

Steven Soderbergh’s first-person experiment is a gamble that pays off massively. This is an eerie family drama that turns the horror genre inside out and infuses it with greater empathy.

Brady Corbet’s seismic drama reaches for the sky as it surveys the soul of a man and a nation. There will be Oscars.

This old-fashioned tale of folk heroism and hardy underdogs benefits from solid performances and spectacular vistas, but it loses points for a sequel-baiting ending. 

Another deeply flawed, tech-forward endeavour for Zemeckis in which glimmers of human emotion only occasionally break through. Like Cloud Atlas for baby boomers experiencing late-middle-age malaise.

A solid action-comedy that proves just how much we’ve missed Cameron Diaz in the last ten years. Next time don’t leave it so long, eh?

It doesn’t quite marry up underlying themes with its hairy horror surface, but Wolf Man delivers strong performances, skin-crawling bodily changes and excellently scary sequences.

Funny and shocking, Get Away is not always a successful holiday-gone-wrong, but its bloody bonkers final act makes it worth the trip.

More unsubtly crowd-pleasing, Burnley-based ebullience, which gets by on its unimpeachably virtuous message — and a gloriously garrulous performance from the always-reliable Rory Kinnear.

An exploration of carnal desire that is at once fiercely erotic, nuanced and raucously funny, with Kidman charging into the breach, flaws bared, taking everything that Reijn hurls her way.

It may be formally unadventurous but A Real Pain is a real treat, a tender, funny treatise on family jealousies and our relationship to the past. Simultaneously light and heavy, it soars on the stellar pairing of Eisenberg and Culkin.

Rungano Nyoni is one of the most exciting voices in cinema today and On Becoming a Guinea Fowl is abject proof: a disquieting, blistering examination of a family where social status trumps blood ties.

Pugh and Garfield are a dynamite duo in this likably earnest, satisfyingly complicated love story. Worthy of your time, and your tears.

Nickel Boys is a triumph. Its unique approach brings a new dimension to its source material, while amplifying the emotional resonance between the present and a horrifying past.

La Diva Eterna lives in Jolie, with a performance as towering as it is understated: sad and soulful and heartbreaking. She has never been better. Brava!