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

There’s no denying this is a powerful portrait of grief driven by a shattering performance from Buckley.

A lively, in-depth examination of the fascinating and important heavy metal icons, this Ballad is well worth listening to.

Kravitz, making her directorial debut, knows exactly how to drip-feed information, until it dawns on you that it’s all about to get very bad indeed.

Gyllenhaal clearly loves losing his mind as the nice-guy/bad-guy with a mad streak, and Abdul-Mateen grounds it all in some kind of sticky morality, but it’s González that holds the film together from the backseat.

Much of One Hand Clapping feels like the knowing performance video it was always intended to be, but it’s these behind-the-curtain glimpses that stop you blinking throughout for fear of what you might miss.

Sarnoski has crafted a tonally cohesive but low-key drama that happens to be interspersed with moments of white-knuckle terror. Appropriately enough, A Quiet Place: Day One is more of an urgent whisper than a shout.

If you’re already a fan, the next few weeks will be spent making playlists of lesser-known B-sides or reading the lore around a scene you weren’t familiar with. And that’s why it was a good idea to make this film – a mad idea, but a good one.

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.

Nouvelle Vague is made with the precision of a super-fan.

Hardcore horror fans should expect less of a full-on festival of bloody carnage and more a new-school chiller in line with the first two films by Ari Aster (Hereditary, Midsommar) or Jordan Peele (Get Out, Us). Regardless: for a top-ranking summer fright from Down Under, don’t miss Talk To Me.

To some degree, blur: Live at Wembley Stadium is more like watching a bunch of teens successfully pulling off their first gig than 50-somethings at an all-time career high. It’s this mischievousness that makes them so endearing to watch.

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

Peel away the astonishing cinematography and megawatt live performances, and it’s a frank account of the artist’s rapid ascension, as she navigates the scrutiny that comes with being a young woman in the public eye.

Director Matt Reeves has mixed up gritty mob drama with film-noir detective thriller – and thanks to Dano’s ultra-creepy villain, some psychological horror too. Most of the time it comes off brilliantly.

It all adds up to a superior Wes Anderson confection: the surface gleams with a retro sheen, but there’s enough going on underneath to leave a lasting impression.

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.

At times, Jay Kelly does smack of self-indulgence but a sharp script and beautiful acting keeps it consistently entertaining.

It’s definitely the sexiest film of 2022 so far, but also the one with the most heart.

If Caught Stealing’s not quite a home run, it is a nail-biter that’ll have you hooked until the final play.

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.

Lynne Ramsay directs the hell out of this intense, twisting story.

True, Becoming Led Zeppelin is never going to do anything but celebrate, given it’s an authorised take on the band. But there’s warmth and good humour here.

It’s honest and unflinching, tough but not witless and, for the most part, an immersive, overwhelming sensory experience. It should be compulsory viewing for warmongers of all ages and young conscripts.

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

The film finishes with a dedication to him – although maybe there was no need. Wakanda Forever is, itself, a fitting tribute to him.

Directed without restraint by Ridley Scott, it’s a bewildering blend of high fashion, high camp and high tragedy that’s chaotic but also wildly entertaining.

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.