There’s ultimately lots to love about Final Reckoning and if this is the end, Cruise and Co are finishing on a high. It’s just a shame it takes so long to get going.

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

Is it scary? Rarely, to be honest. But it knows how to twist the knife, at least.

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.

All the cast play their parts, but an off-the-leash McAvoy is a joy to behold, channeling the same twisted energy he mined for his addict-cop in Irvine Welsh adaptation Filth. Touching on issues of class and the rich-poor divide, the result is a top-notch British thriller that’ll scare the bejesus out of you.

Archer’s film always feels utterly unique. Looking as handmade as its loveable leads and carrying enough odd wit and subtle warmth to put the multiplex to shame, this is British indie cinema at its weird best. See it before it all falls apart at the seams.

The Kitchen loses some of its potency by balancing too many elements – the world-building, societal context, interpersonal relationships and the paternal bonding that deserves to be the nucleus.

It’s a rich character study that doesn’t sugarcoat the ageism Shelly faces, but also grants her a defiant sense of agency. Whatever you think of her choices, she’s lived life on her own terms.

While there are glimmers of drama, there are also extended sections where this deliberately bewildering film gets a bit boring. Despite this, Sasquatch Sunset is worth seeking out if you have a taste for the absurd.

It’s a well-intentioned film with some good songs which, despite having more than two hours to come together, doesn’t quite do so.

Wonka isn’t quite an immaculate confection, but it’s moreish enough to become a future festive favourite. You’ll want to tuck right in.

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.

For a film about feats of next-level bravery, Thirteen Lives is a little too cautious to really soar.

The climactic setpiece isn’t quite an action spectacular, but it does feel tense and narratively satisfying.

Made with bubblegum bite by Jennifer Kaytin Robinson (writer on MTV’s Sweet/Vicious and Marvel’s Thor: Love And Thunder), the film takes its place in the cult yearbook with an ironic wink – dropping movie references as fast as it does one-liners.

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

You can largely predict what will happen, but that’s okay. To All The Boys: Always and Forever is sweet, sleek and has plenty of charm. Sometimes, that’s all you need.

Garland, having dipped with his interesting-but-flawed puzzler Annihilation, returns to the form of the excellent Ex Machina here with a shocking, hilarious and terrifying take on grief and masculinity at its most toxic. Thrilling stuff.

Packed with heart, smarts, jaw-dropping effects and an exquisite ensemble cast (shout out to Harry Hadden-Paton’s nerdy British journalist as comic relief), Twisters will have you singing the praises of the multiplex until the cows come home.

Turning an awful true story about a serial killer into an awful true story about the system that let it happen, The Good Nurse is an important lesson for anyone who tries to package Cullen’s crimes too neatly. Better still though, it gives us one of Chastain’s best performances; one of the year’s most believable superheroes.

Fortunately, Hawke is fantastic. Over-acting like his life depends on it, his mad kabuki mugging somehow works perfectly.

Is there too much going on? Possibly, but Eddington is never dull – Aster commits fully to his grisly vision of a ruptured America where a sticky narrative is more important than the truth or any kind of moral high ground.

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

It’s enjoyable enough. It’s also a real treat to watch a Marvel film that doesn’t depend on viewers having seen a dozen other films and TV shows.

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

Crafting a thriller that is tense and taut, Álvarez truly understands what makes an Alien movie breathe, while also expanding on the mythology of the series.

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.

The film’s emotional beats don’t hit as hard as its musical ones.