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

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.

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

The Killer is an entertaining, crowd-pleasing banger that stands up to multiple views. It’s a superior hit-man romp that doesn’t outstay its welcome from a director who misses the target less than his protagonist.

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

Eschewing melodrama for a more low-key register, it may not satisfy those looking for quick thrills. But this slow-burner is a stylish look at a bygone era, when all that mattered was having enough money to put petrol in your tank.

There’s more to Wilson’s film than dread though. In between the terror, the newbie director makes time for actual plot.

Despite its flaws, George Michael Freedom Uncut ultimately succeeds because the man himself remains so compelling.

Lovers of the currently unfashionable historical epic, however, mostly aren’t eager to see Napoleon for the love story at its core. What they want is a battle – blood and thunder writ large. On this front, there’s little in modern cinema to equal what Scott and his team manage.

It’s poignant in informing and representing the value of sexual expression and acceptance, wholeheartedly portraying that BDSM relationships are more often than not as grounded and human as the people involved.

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).

Director Scott Barber does well to present “the world’s sickest band” as a loving family of weirdos. Yes, they had issues. Yes, they fell out from time to time. Yes, they might’ve sprayed a little less sperm. But who amongst us can say any different?

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.

If this is the end of Luther, The Fallen Sun serves as the perfect send-off. It’s surprisingly grounded considering the leap from TV (a Dover ferry is about as exotic as it gets) but constantly ambitious enough to warrant the two-hour runtime.

There’s no big twist to speak of, but this is a white-knuckle thrill ride that’s up there with Shyamalan’s most gripping work.

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.

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.

When Momoa isn’t on screen and stuff isn’t exploding, the daft dialogue almost sinks the film into parody. Sure, no one’s ever watched a Fast film for the talking, but so much time spent between set-pieces means we only really get half of a film a here – the big final cliffhanger stopping just as it’s getting going.

Dawn Of The Nugget might have a bit too much Netflix polish in places, and the spark of the original film doesn’t ever burn as brightly here, but there’s still a lot to love about a family film pitched for the post-Christmas dinner funk that’s all about the horrors of the poultry industry.

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.

This might not be what fans expect from an Exorcist movie, but they’ll be even more surprised that it’s actually watchable.

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.

DeVidas’ film might be a difficult watch but, as well as serving up a reminder of the horrors of addiction, at least it gives us plenty to be grateful for too.

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.

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.

Sinners really comes to life via the musical numbers.

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

Anderson and co-writer Roman Coppola have great fun with the idea, channeling 1950s B-movie vibes. Like all of Anderson’s work, it’s very affectionate, even if every camera move appears to have been calculated with the precision of a mathematical equation.