If some viewers can still cling onto The West Wing as a comfort watch even now, there’s something to be said for the appeal of a text offering the total flip side in its portrayal of centrism’s capabilities, especially one as full of punkish spirit as this.

Dav Pilkey’s beloved children’s graphic novel series was adapted about as faithfully as possible, fully capturing the puerile (literal toilet humour) and subversive (critiques against the education system’s expressionless rigidity education system) spirit of Pilkey’s work in a consistently hysterical and dynamically-animated treat of a film.

Cocaine Bear transcends terms such as ‘good’ and instantly enters the realm of ‘beloved trash’. It will be viewed at teen sleepovers, as a romantic icebreaker, and when no one can decide what to watch for decades to come – the sort of uncomplicated, silly, surreal viewing experience that might not change your life, but will certainly enrich it.

The Bikeriders is an enjoyable ride and one that Nichols fans will get a kick out of. The ensemble cast is enticing but the tried-and-true story arc isn’t injected with enough rigour to make this the classic it could be.

Stylistic absurdity, on-the-nose satire, delightful gore and ruminations on the abject monstrous feminine provide a great formula that elevates Hatching, while the outstanding camera work, lighting, detailed production design and sharp editing make the film all the more impressive.

A wildly ambitious, idiosyncratic and very English domestic horror story baked in the mould of Clive Barker’s seminal S&M gore wig-out, Hellraiser, from 1987.

An overabundance of celebrity cameos and some incoherence aside, The Bubble succeeds because it is just so damn fun. Even with a departure from Apatow’s more muted direction there is an abundance of laughs.

Weide’s own infatuation with the acclaimed writer helps this documentary to become a very personal chronicle of an interesting and influential life. Weide creates a documentary that even those unfamiliar with Vonnegut and his legacy can enjoy.

The impressive momentum of the first hour, in spite of the inherent repetition, dissipates when the onscreen players start loitering and even sitting down to talk. In its third act, this otherwise effective thriller about getting stuck does end up spinning its own wheels.

Mr. Malcolm’s List isn’t reinventing the Regency wheel, but like any good end-of-summer fling, it is a pleasurable experience that ticks every box — while not outstaying its welcome.

An American impulse for neat endings and recognisable stories gets in the way, but Rental Family is still beautifully written and gives little windows into Japanese life, from a Monster Cat festival to a rural diversion with breathtaking scenery, with Fraser’s endearing everyman as an emotional linchpin that viewers will love.

All we can do is refuse to look away. In bearing witness, we can regard the pain of others as our own.

Delightfully, Islands doesn’t patronise viewers. The film refuses to confirm or deny suspicions. It’s an exhilarating feast from co-writers Gerster, Blaž Kutin and Lawrie Doran who pen this winding tale with sharp subtlety.

It builds towards a moving conclusion without ever feeling manipulative.

For the most part, though, Frears and co poke fun at the monarchy and do a decent job at presenting the complex relationship between India and England.

Top Gun: Maverick is an extremely enjoyable thrill ride, yet its focus on intense, immersive action doesn’t allow much room for lighter, steamier fun like its predecessor.

It’s a hypnotic lesson in watchful photojournalism, offering an insightful take on a quest to liaise with wildlife in its natural habitat – in this case, the rare Tibetan snow leopard.

This is the western as a dried, coruscating corpse, left out for the buzzards to feed on.

Cobb is excellent at toeing the lines between calm and unhinged, often fluctuating between them and never really settling on either.

The most compelling throughline of a-ha: The Movie is its level of detail and frankness. While the group’s stayed together for 40 years, through hiatuses and solo ventures, there’s an impression they’re not especially close.

It is an exercise in self-punishment disguised as self-aggrandisement, by a director powered by confident resignation and – for those unlucky enough to have experienced the gaping hole of yearning for home – it is entirely worth the self-indulgence.

This is also a film that benefits from occasional glimmers of lightness, which contribute to a more rounded sense of who Winton was as a person while providing some respite from the weighty subject matter.

Farewell to the Flesh exhibits a savvy awareness of its own political limitations.

From Ground Zero is a heartbreaking snapshot of an unforgivable moment in history, and as this tapestry of Palestinian life unfolds on our screens, we must heed the call of the artists who made it. Enjoy life, yes, but do something, anything, to ensure that they might enjoy life too.

Maybe he doesn’t have the cunning of Keaton or the brawn of Bale, but in his own unique way Pattinson’s Batman feels perfectly adapted for the uncertain and unjust times we are living in, where greed and impunity are the order of the day. And if the film itself isn’t totally original, it at least spreads its latex wings in some fun and surprising ways.

Writer-director Carlota Pereda has embarked on a risky debut with this horror film that addresses bullying, fatphobia and the social stigma associated with obesity while delivering on gore and shocks.

If this cynical and funny consideration of the distance between a person and their curated image in the collective (un)consciousness comes with any caveat, it’s that it, itself, feels ever so slightly synergistic.

A child’s anxieties about what might be under the bed or in the shadows are also precisely those primal fears that fuel horror, ensuring that, with all its obfuscations, evasions and abstractions, Skinamarink strips the genre down to its most basic elements: a vulnerable individual alone in the dark.