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.

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 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.

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.