Yes, we get footage of the alien glam god, Ziggy Stardust, strutting across stage and scrambling teen minds with his otherworldly rock and roll. But off-duty, Morgen portrays a quieter icon – deeply thoughtful, often isolated and with a quirky sense of humour.

It’s a staggering feat. In the space of one seamless performance, Swift is at turns a playfully eccentric artist, a country star and a genuine pop icon. Yet for all the spectacle, it might be those acoustic songs that linger longest in the memory.

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

Vortex might act as a balm to some viewers who see themselves in this quietly tragic family portrait. But, if you’ve ever had even the smallest existential fear of growing older and dying, or watching this happen to people you love, tread carefully around this one.

Unlike scmaltzy American romcoms, Allen-Miller never oversells the romance as something bigger than two Londoners out enjoying a crazy day together. Instead, she takes an everyday love story about normal people and injects some big-screen fun into it.

Its rich tone of regret, guilt and unspoken malice comes across in careful direction from Tim Mielants, Frank van den Eeden’s shadowy cinematography and subtle, measured performances across the board.

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

It’s all properly violent and uncivilised.

At the core of This Much I Know To Be True are sumptuously-shot performances of choice tracks from the Bad Seeds’ ethereal ‘Ghosteen’ and Cave & Ellis’ lockdown revelation record ‘Carnage’, all filmed in breathtaking arthouse style in an abandoned factory in Bristol.

In the end, there’s no doubt you’re looking at someone who, as academic Jason King puts it, “represented a complete upheaval of the existing social system” – and that we’re still enjoying the fruits of that bravery.

Dead Reckoning’s spectacular finale does well to bring things back on brand – seriously, the closing action tableau is as impressive as any you’ll see – but by then most will have stopped caring because their heads hurt.

Condemned in Australia by two of the victim’s families, there’s an argument to be made for Nitram not being watched at all. But by refusing to paint Nitram as an out-and-out monster, the film’s masterstroke is its compassion. It exposes politicians as the real criminals in an unspeakable tragedy that we still haven’t learned from today.

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.

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

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.

Sprinkled throughout are marketing messages (“Barbie means you can be anything”) that sound like they come straight from a press release. Gerwig is clever enough to deliver these with self-awareness and some sarcastic jokes (Mirren thanking Barbie for ending misogyny is a highlight), meaning the balance between reality and commercial is never lost. For a movie that ostensibly exists to promote a doll, this is laudable.

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.

Looking and feeling every inch like a film made without compromise, Pinocchio was worth the wait. Del Toro has been talking about making the film for most of his career now, and the pay-off shows in every brushstroke and thumbprint.

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.

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

With polished visuals and an experienced cast, director Hur Jin-ho concocts a morally complex work that will both challenge and reward viewers.

Hope, then, is the film’s lasting message. Hope that it’ll spark much-needed conversations. But also hope that they won’t be so needed in the future.

Brilliant and unmissable.

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.

Spaeny is superb as Priscilla, making you feel every painful aspect of her emotional journey, from infatuation and initial confusion through to heartbreak and finally self-discovery. Similarly, Elordi makes a terrific Elvis.

Kids are scary. If you didn’t think so before, you definitely will after watching The Innocents – one of the year’s most quietly unsettling horror films.

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

As honest about his ups as he is his downs, it’s a rare thing to see a movie star being so earnest and grounded on camera. Through the film, Guggenheim helps Fox paint an endearing self-portrait of one of Hollywood’s last few nice guys.