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.

If we’re to understand Hoon’s life through his footage, it’s as a victim of a lifestyle that amplifies not just the sounds in your head but the problems at your core.

The telling of Baby’s early life is illuminating. It offers his lived experience as well as an insight into the historical background of oppression and inequality in the US to show how the rapper – a childhood “genius” who would ace exams even though he never showed up to class – would eventually be incarcerated by the age of 20.

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.

There may not be a more punk rock bit of film on earth than George being told the police were on the roof to shut them down, and casually turning his amp back on. For that alone, for all its whitewashing and line-toeing, Let It Be remains a staggering watch. [2024 Restored Version]

Fortunately, the Russo Brothers have managed a rarity in the streaming wars by making a movie that’ll please the Netflix algorithms and human beings alike. Bring on the next one.

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.

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

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.

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

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

Bros is a cut above most romcoms for one simple reason: it’s funnier.

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.

Sheryl is brisk but pretty comprehensive.

Meet Me In The Bathroom makes for a lively snapshot of a very exciting period in rock history. Veterans and newcomers alike should check it out.

The fog shrouds the storyline here, but makes it all the more intriguing and addictive.

The Banshees of Inisherin is that rare thing: a film that will have you chuckling one minute, gasping the next. A story about what matters more – your legacy or your life – McDonagh has created a work of feckin’ brilliance.

Cronenberg playing through the hits is better than most directors’ best work. He’s a filmmaker who has always had apocalyptic visions of humanity: they’re all here and they do hit in a sharp way.

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.

As ever with Anderson, the design is meticulous. Some can find this style cloying, but it suits this glorified short perfectly, never outstaying its welcome.

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

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

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.

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.

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.

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

While its oddball nature won’t be to all tastes, the championing of female guile over insufferable male idiocy will surely leave many with a big smile on their faces.

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