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

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.

Among the best horror films of the year.

Inside the Manosphere is a meta masterpiece that tackles the algorithmic poison being served to young men, but also says so much about the battle between new and old media, as well as the toxic battleground of social platforms, contemporary conspiracy theories and the parasocial relationships that make some influencers rich.

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.

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.

Whilst its blend of influences make Emilia Perez unique, they also make it exhausting.

Just as ugly and beautiful as any classic noir, del Toro’s dark, dazzling three-ring Hollywood circus proves the old-fashioned event film still has a lot of life left.

Radcliffe’s winning performance – like a goofy high-schooler who wins the lottery – is enough to keep everyone laughing. Top that off with an album’s worth of quirky cameos, including Conan O’Brien’s genuinely laugh-out-loud Andy Warhol impression, and you’ve got a cult classic in the making. M-m-m-myyy bologna

There are as many ‘Hallelujah’ stories as people who’ve listened to it, of course, but in pinpointing a precious few, Hallelujah… does a fine job of unravelling just some of the song’s multitudes.

Somehow Johnson’s sophisticated turn – the best of her career – will keep you on side. As romantic as Materialists is, it’s also realistic which makes it so watchable.

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.

You won’t catch a more satisfying horror film this year. Seek it out.

Unfortunately, its intriguing conceit is also hampered by comatose chemistry, a claustrophobic setting and a slew of dead one-liners.

Exploring themes of ancestral reparations and generational grief, The Piano Lesson is powerful on paper, but unremarkable on the screen.

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.

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

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.

It’s a familiar story, to be honest. But even if Bond seems the same as ever, the world he exists in isn’t.

As a meditation on depression, anxiety and touring, Anonymous Club isn’t just valuable viewing for Barnett’s die-hard fans, though they will no doubt cherish this film which captures the artist at her most open, outside of her music. For the first time, we’re invited into the club.

To give Gunn his due, he crafts a world that’s as close to the DC Comics Superman that we’ve ever seen, with characters like the shapeshifting Metamorpho (Anthony Carrigan) adding real texture. It’s a promising start-point to his plans for the DC Universe.

A solid, charming, but ultimately inconsequential Spy x Family outing.

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.

By the apocalyptic and slightly predictable ending – come on, another quasi-spaceship assault? – Johansson’s swansong has cycled through futuristic sci-fi, buddy comedy, escape adventure and teary drama.

Unlike its predecessor though, you won’t forget this experience in a hurry.

At its best, The Blackening is a fun, laugh-out-loud blockbuster that sends up the many genre clichés surrounding Black people in horror (mostly the notion that they always die first in horror films). At its worst, though, it’s a reductive slasher-comedy where most jokes earn a measly huff.

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

Gradually, Fine’s sensitive, softly-softly approach works small wonders.