The Bob’s Burgers Movie is substantial enough to justify its 102-minute runtime and manages to supersize the show’s appealing recipe without diluting its flavour. It’s a meaty treat that fans and newcomers alike can devour with relish.

Pink Floyd At Pompeii: MCMLXXII captures a moment that’s as bygone as the good citizens of Pompeii themselves.

For better or for worse, Raya And The Last Dragon is not your traditional Disney princess story. It ambitiously tries to subvert those tropes by going against the grain with a dark narrative about human mortality and selfishness. But the film forgets storytelling fundamentals, instead jumping the gun with a mishmash of influences that leads to an uneven plot and unsatisfying finale.

There’s a kindness and companionship – and freedom – to Jackass Forever that makes for 90 minutes of pure joy.

Throughout, Guadagnino audaciously but successfully balances some gut-wrenchingly grim and gory scenes with moments of genuine tenderness.

Denis Villeneuve’s new reboot thankfully ditches the silly, but it does take itself extremely seriously.

Superbly marshalled by Gray, the ensemble cast is excellent – though if you had to pick a stand-out, it’d be Hopkins, as the kindly-but-principled grandfather. He casts a huge shadow over the film, a moral compass for all to follow.

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.

Highest 2 Lowest’s action moves with pace and the dialogue is full of the rhymes and hilarious street slang Lee typically peppers his films with. However, it doesn’t feel shot and cut with his usual vitality.

Garfield’s performance is a compassionate one, careful not to hide Larson’s vainer side but also presenting him sympathetically.

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.

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

Certainly, it’s not for those looking for fist-pumping sporting triumphalism. But in this age of franchise vapidity, it’s still a film worth grappling with.

This feature-length documentary makes for affecting viewing because it tells the duo’s incredible success story through the lens of their rock-solid friendship.

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.

Creed III isn’t quite a knockout, but only a fool would come away questioning whether this seasoned slugger of a franchise has more rounds left in it. Bring on Creed IV.

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.

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

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.

The Girl with a Bracelet is a clever, relevant film which makes you question the way society expects young women to behave.

Despite its problems though, One Of Them Days still makes for a fun ride. This is largely down to Palmer and SZA’s undeniable chemistry, perfectly capturing the sometimes chaotic, deeply loyal nature of female friendship.

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

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

This could easily have smacked of trying too hard, but Johnstone really seems to have pulled it off.

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.

A riot of sex, murder and intoxication presented with an appropriate aural and sonic ferocity.

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.

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.