As ever, the film is really just an excuse to string together a bunch of cinematic in-jokes, meaning it lives or dies on the strength of its sketches.

Erupcja isn’t as explosive as its title might suggest but it perfectly captures the possibility of blowing up your life without having to try very hard.

Backrooms vibes-based momentum won’t be to everyone’s taste. For some there’ll be too much explanation and for others, too little. But it’s an intriguing, memorable creation with the power to rattle, as Parsons lurks in the intersection between dread and delirium. Well worth exploring.

Rarely seen photos of Lennon and Ono reveal a charming, playful side to the couple. However Soderbergh has also used generative AI to create surreal images to illustrate 10 per cent of the film, which feels like a misstep because the poorly conceived pictures (streets flooded with oil, crying babies) are a world away from the tender story of loss and grief at the heart of this documentary.

It’s an entertaining trip to a galaxy far, far away that proves there’s still cinematic life in this universe.

It’s not just a case of the cast stitching a smooth modern tapestry out of Barker’s patchwork of inspirations. His dialogue, though dense at times, is sharp and pithy. Clever, sparse lighting adds mystery. And the way he uses sound, almost as a jump-scare on its own, feels unlike anything you’ll see this year.

A few of the jump scares are ruthlessly effective and, with its cartoonishly gothic tone, Hokum does what it says on the tin.

It makes you wonder whether a documentary series may well have been a better option – even if the movie makes for a moving and amusing recap of Maiden’s incredible legacy.

A perfunctory romantic subplot linking Andy to a bland property developer (Patrick Brammall) should have been edited out and the ending is perhaps a little too sentimental. But this is still a smart and satisfying sequel. The Devil Wears Prada 2 feels like a sleek update on a classic, not a cheap knock-off that falls apart in the wash.

That title wrongly suggests the work of an artistic visionary scaling new heights of elevated horror; instead, this is a fun, dumb thrill ride that breathes powerfully fetid air into the ongoing string of mummy movies.

The discomfort that’s baked into the premise of The Drama is amplified by disconcerting camera moves, cuts and audio choices, as well as Daniel Pemberton’s unsettling score. But despite all that, Borgli successfully plays things primarily for laughs.

This is how metal should be done. Don’t miss it.

Through it all, the overwhelming sense BTS: The Return gives is one of a group at a crossroads, figuring out which way to turn.

They Will Kill You is a deeply unserious comedy horror that provides just enough plot to get it to the next bloodbath. It might not work for some but there’s something in the enthusiasm of all involved that is hard to resist as they craft a gleefully chaotic spectacle.

There are some entertaining showdowns and Weaving again excels as the funny and fearsome Grace, one of modern horror’s toughest protagonists.

Inside the Manosphere is a meta masterpiece that tackles the algorithmic poison being served to young men, but also says so much about the battle between new and old media, as well as the toxic battleground of social platforms, contemporary conspiracy theories and the parasocial relationships that make some influencers rich.

While the Bride’s relationship with Frank isn’t exactly a tear-jerker, Gyllenhaal has made something unique and singular. An outlier in the Frankenstein canon, it’s both a thought-provoking re-assessment of Shelley’s work and a bonkers feminist call-to-arms. They don’t come much wilder and weirder.

With so many of the gang now in the ground, this swansong doesn’t boast the same punk energy of the show’s early seasons. Only occasionally does it snarl and show its teeth, with flashes of the cold-blooded violence that gave it so much of an edge.

When Campbell, Cox or both are on screen, Scream 7 is at its best. Campbell now is as indefatigable a scream queen as Jamie Lee Curtis in the Halloween series, while Weathers is probably Cox’s greatest role, even if the Friends faithful prefer Monica Geller. So, even an average Scream film is worth seeing for the dark thrills and bloody spills we can depend on. Just don’t expect to be wowed.

A lively, in-depth examination of the fascinating and important heavy metal icons, this Ballad is well worth listening to.

The Moment is too protracted and tonally uneven to work as a great mockumentary, but it has plenty of meme-worthy moments that TikTok will lap up. If that sounds like faint praise, well, just remember it was enough to make Emerald Fennell’s Saltburn a sensation back in 2023.

EPiC: Elvis Presley In Concert is a kaleidoscopic mix of documentary and concert movie, replete with a behind-the-scenes peek at the rehearsal process, much of it narrated by Elvis himself. Forget talking heads: Luhrmann has described his tribute as a “tone poem”.

At one point, he insists he’s not a workaholic but a “playaholic”, which might be the ultimate Macca-ism. In fact, that quip sums up his depiction in Man On The Run: goofy and a little corny, but always endearingly himself.

Nouvelle Vague is made with the precision of a super-fan.

If you meet Wuthering Heights on its own terms and give yourself over to Fennell’s bold vision, it’s hard not to get swept up in this gothic tale of toxic attachment.

There’s no denying this is a powerful portrait of grief driven by a shattering performance from Buckley.

With a uniformly impressive cast, spectacular scenes of carnage and the unshakeable feeling that anything could happen, this zombie franchise is as thrilling as it’s ever been. It’s well worth taking a trip to The Bone Temple.

It is a film about living fully and without fear, a cynicism-free zone where, for all their fast-talking, people love each other so much it makes your heart feel like it’s about to burst. Talk about a smash.