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.

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.

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.

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

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.

While perhaps not as glorious as Lanthimos’ best, Bugonia’s shock and awe prompts a discussion about internet culture that hits worryingly close to home.

A tender, thoughtful film that finally brings the legendary singer-songwriter’s story, or at least a snatch of it, to the big screen.

This is a horror that’s in love with scary movies; a post-modern remix of genre classics filmed through an arthouse gauze that never obscures its goofy sense of humour.

Writer-director Rian Johnson’s script isn’t quite the perfect box of tricks. It’s fairly tenuous that Blanc would turn up for this puzzler – apparently at the behest of Mila Kunis’ local cop. But it’s hard to punch down on a movie with such a riotously entertaining cast.

In short, this is a thoroughly entertaining sports biopic that packs one hell of a sentimental gutpunch. It’s smashing stuff.

The undisputed highlight of the film are Faithfull’s various musical performances from across her career.

Operatic in its intensity and lush in its visuals (Anderson shot with old-school film format VistaVision), it’s a sometimes ragged, unwieldy experience.

The end result is an achingly gorgeous film that allows his monster-loving sensibilities and signature style to come to the fore.

If Caught Stealing’s not quite a home run, it is a nail-biter that’ll have you hooked until the final play.

At times, Jay Kelly does smack of self-indulgence but a sharp script and beautiful acting keeps it consistently entertaining.

Somehow Johnson’s sophisticated turn – the best of her career – will keep you on side. As romantic as Materialists is, it’s also realistic which makes it so watchable.

Is there too much going on? Possibly, but Eddington is never dull – Aster commits fully to his grisly vision of a ruptured America where a sticky narrative is more important than the truth or any kind of moral high ground.

It’s a tribute to the joy, hope and love that pop culture and a shared devotion to it can bring. It’s proof that stanning a boyband can be a life-changing force for good, rather than the frivolous waste of time some would make it out to be.

Buckle up and enjoy the ride, safe in the knowledge that the tyre talk never gets too overwhelming.

If it sounds like Boyle and Garland have been smoking some super-strength Cali weed in the writers’ room, you’ve heard nothing yet.

It all adds up to a superior Wes Anderson confection: the surface gleams with a retro sheen, but there’s enough going on underneath to leave a lasting impression.

A deeply sad movie about thwarted love, The History of Sound is essential viewing.

Lynne Ramsay directs the hell out of this intense, twisting story.

While it’s not quite the same as actually being there, Bono: Stories Of Surrender shines a new, personal light on his dramatic performance.

Final Destination Bloodlines is even more self-aware than its predecessors, with hugely enjoyable results.

There’s ultimately lots to love about Final Reckoning and if this is the end, Cruise and Co are finishing on a high. It’s just a shame it takes so long to get going.

By the end, even the clunky-looking asterisk in the film’s title makes sense. Thunderbolts* doesn’t so much reinvent the wheel as remember what put the wheels on this bandwagon in the first place: an epic blend of thrills, spills and psychological ills. It’s the most fun the MCU’s been in years.

It’s honest and unflinching, tough but not witless and, for the most part, an immersive, overwhelming sensory experience. It should be compulsory viewing for warmongers of all ages and young conscripts.

Sinners really comes to life via the musical numbers.

Apart from the occasional prickly moment of sadness, It’s Never Over, Jeff Buckley is largely celebratory.

In short, this is a terrific documentary from start to finish, beautifully structured and by turns bracingly political, informative and inspiring.

It’s a shame the movie has such a goofy name, which throws a shroud over a powerful and unique cinematic experience.

Opus is as off-kilter as they come. Perfectly suited, then, to a man like Malkovich.

It’s a marriage drama, corporate comedy, domestic farce and international surveillance thriller in a tight 90-minute package.

There’s an infectious warmth to proceedings that makes you stick with Mickey 17 (and 18) through thick and thin. This kooky curio is well worth seeking out.

While the narrative never quite makes peace in the way you would expect and does meander slightly off course, it seems Ross had no intention of a textbook crescendo.

It’s a rich character study that doesn’t sugarcoat the ageism Shelly faces, but also grants her a defiant sense of agency. Whatever you think of her choices, she’s lived life on her own terms.

A road movie that really makes you think about the stops it makes, there is real pain inside this film; Eisenberg and his cast do well to ensure you’ll feel every moment of it.

True, Becoming Led Zeppelin is never going to do anything but celebrate, given it’s an authorised take on the band. But there’s warmth and good humour here.

A fresh spin on a difficult topic, it’s a high-wire walk that balances sensitivity and sensationalism. You won’t find a more compelling film this winter.

You’d be hard-pressed to call it moving, but at least there’s an emotional narrative that drags us through the grisly bits. Sick, dark and laugh-out-loud nuts.

Like many of Leigh’s best films, it prioritises authenticity and recognisable glimpses of emotion over a splashy narrative arc. That may make it frustrating for some viewers, but there’s no doubt that Leigh and his cast have created a sad, captivating, fascinating slice of everyday life.

A three hour and thirty minute biopic about art, history, money, sex, trauma and concrete, it’s heavyweight in every sense: a monument to its own greatness that stands a good distance from anything else you’re likely to see at the cinema this year.

Wolf Man isn’t quite as creepy or emotionally charged as its predecessor. Some of the dad trauma stuff is laid on a bit thick and the whole enterprise runs out of puff in its final third, partly because the titular creature doesn’t actually look very scary (at times, you sense a strong coffee and a fry-up would sort him out).

This isn’t a perfect film, but it is a funny, fascinating one with terrific performances from Kidman – surely the bravest A-lister around – and Dickinson as an inscrutable wildcard. You’ll submit to Babygirl’s machinations willingly and thrillingly.

If you’re already a fan, the next few weeks will be spent making playlists of lesser-known B-sides or reading the lore around a scene you weren’t familiar with. And that’s why it was a good idea to make this film – a mad idea, but a good one.

What results is a film that both works as a finely-tuned thriller and a meditation on the Church’s place in today’s society.

Right People, Wrong Place might be a document of an album, allowing RM to show the contrast between this experience and the more polished, slick workings of BTS. But it also feels like a subtle chronicle of friendship forged through music.

By the end, you won’t quite be levitating off your seat but you’ll definitely be enchanted enough to stream the soundtrack on the way home. Funny, colourful and full of empathy for outsiders, this film really is the Shiz.

With scenes of harrowing violence, the film often feels totally unsafe: no adult’s motives are beyond reproach. In true Andrea Arnold style, though, it’s also a life-enhancing tale that soars with unexpected grace, optimism and faith in humanity.

Neville’s film is so forward-thinking, it’s easy to forgive the more superficial aspects of the production.

Among the best horror films of the year.

Different by name and different by nature, A Different Man is one of the most original films of the year. Not since the days of Charlie Kaufman, with his brilliant scripts for meta-movies Being John Malkovich, Adaptation and Synecdoche, New York, has there been anything this bonkers.

Much of One Hand Clapping feels like the knowing performance video it was always intended to be, but it’s these behind-the-curtain glimpses that stop you blinking throughout for fear of what you might miss.

Heart-wrenching, humane and humble, this is something very, very special indeed.

It’s horrifying in the moment and gnawingly haunting when you process it fully: a sickening satire of society’s obsession with youth and beauty.

Blending fact and fiction in intriguing and unexpected ways, the film is consistently entertaining and can be enjoyed whether you’re a longtime fan of the band or a total newcomer.

All the cast play their parts, but an off-the-leash McAvoy is a joy to behold, channeling the same twisted energy he mined for his addict-cop in Irvine Welsh adaptation Filth. Touching on issues of class and the rich-poor divide, the result is a top-notch British thriller that’ll scare the bejesus out of you.

To some degree, blur: Live at Wembley Stadium is more like watching a bunch of teens successfully pulling off their first gig than 50-somethings at an all-time career high. It’s this mischievousness that makes them so endearing to watch.

It’s silly, giddy and a little bit disgusting – just what we want from Beetlejuice.

Phillips and Silver have delivered the last thing anyone expected: a socially responsible Joker movie that finds an intriguing way to explore the consequences (both on and offscreen) of the first film. Joker fans shouldn’t cry too hard though – Warner Bros. have cleverly found a way to leave the door open a little for the franchise to continue, should the need arise.

Craig delivers one of his best performances to date as Lee, investing him with a palpable world-weariness and making you feel every moment of hope, desire, ecstasy and crushing disappointment. Starkey is excellent too, generating strong chemistry with Craig.

Kravitz, making her directorial debut, knows exactly how to drip-feed information, until it dawns on you that it’s all about to get very bad indeed.

Crafting a thriller that is tense and taut, Álvarez truly understands what makes an Alien movie breathe, while also expanding on the mythology of the series.

Just like their insane live shows and debut album ‘Fine Art’, it’s one hell of a laugh. However it’s also full of heart; telling a real working class story as a call for unity without punching down or patronising.

Schoenbrun’s film never feels derivative; instead, there’s something fresh and exciting about it, despite the almost deliberate slow-burn feel to its pacing.

BLACKPINK World Tour [Born Pink] In Cinemas is a fun reminder of the sparkle and strength displayed in BLACKPINK’s concert and a timely celebration of one of K-pop’s biggest girl groups, bright enough to tide us over until the four-piece are back on stage in front of us again.

Packed with heart, smarts, jaw-dropping effects and an exquisite ensemble cast (shout out to Harry Hadden-Paton’s nerdy British journalist as comic relief), Twisters will have you singing the praises of the multiplex until the cows come home.

Perkins ensures everything services a story that comes armed with at least one almighty twist. Measured in pacing and tone, his film also feels extremely moody thanks to the overcast skies captured by cinematographer Andrés Arochi.

The core Eno that emerges is one dedicated to the deconstruction of music and its making at a fundamental level, then recreating it in amorphous terms: feeling, landscape, peripheral perception, belonging.

Three films into Ti West’s extraordinary trilogy, Goth proves yet again what a force she is to be reckoned with – and West proves that funny, dark, smart schlock horror still has a lot to say.

All set around the American Civil War, Chapter 1 is a three-hour slow-burn that takes some patience, but rewards with handsome vistas, moments of thrilling action and characters that will likely grow in significance in subsequent instalments.

There’s something undeniably impressive about the whole enterprise, in which Lanthimos has found the perfect co-conspirators: Plemons’ ambiguous quality suits his opaque stories, while Stone’s charisma warms the edges of his chilly filmmaking. The result is a singular, freaky challenge that’s definitely worth accepting.

Sarnoski has crafted a tonally cohesive but low-key drama that happens to be interspersed with moments of white-knuckle terror. Appropriately enough, A Quiet Place: Day One is more of an urgent whisper than a shout.

If you’re a casual fan, Rite Here Rite Now makes for a fun, enjoyable experience that should tide you over until their next album or tour. But if you’re a die-hard, this is essential viewing – not just for its exhilarating live moments, but for the next part of the gripping Ghost saga.

Whether they return again or not remains to be seen. But even if they don’t, this was one hell of a final fling.

Under Paris, then is a cheesy yet canny creature feature romp with gritty Gallic bite, taking itself – enjoyably – rather more seriously than it deserves.

The Beach Boys makes up for its narrative familiarity by exploring some of the lesser-known behind-the-scenes tidbits.

Linklater is a master of pacing and he times this story to perfection; you’ll be aching with laughter by the end.

Brilliant and unmissable.

The Fall Guy is a delight from start to finish, thanks to a sparkling script, thrilling action sequences and to-die-for comic chemistry between the two leads.

Playful, sexy and compelling, this is one of the best films of the year, with sensational performances from its three leads.

Civil War is something of a staggering achievement of spectacle and sound, with vast swathes of the US convincingly up in smoke. Not once do we get the foul whiff of CGI; not once are we taken out of the engrossing reality of the protagonists.

This film was always going to face accusations of being exploitative – given the way Winehouse was scrutinised when she was alive – but the naysayers needn’t have worried. Taylor-Johnson’s film (particularly the ending) is impressively deft and delicate.

Opus is yet another priceless gift from a once-in-a-lifetime talent – and a reminder of what we’ve lost. Goodbye maestro – and thank you.

Like Afterlife, Frozen Empire ultimately succeeds because it’s so much fun to watch.

It’s a beautifully constructed and emotionally engaging tale that’s constantly surprising.

Both Song Joong-ki and Choi Sung-eun are phenomenal throughout Kim Hee-jin’s feature film debut, transforming My Name is Loh Kiwan into a film that will stay with you for a long time.

Parasite is nothing short of a masterpiece.

Epic in scope and astonishing in its world-building, Dune: Part Two combines jaw-dropping visuals with imaginative action and morally complex plotting to thrilling effect.