You won’t leave a-ha: The Movie wanting to hang out in the band’s dressing room, but you will come away with a renewed appreciation for the intense and sensitive men who made melancholy pop gems like ‘The Sun Always Shines On TV’ and ‘Hunting High And Low’. Glorious as it is, there’s a lot more to this band than ‘Take On Me’.

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 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.

There’s something undeniably impressive about the whole enterprise, in which Lanthimos has found the perfect co-conspirators: Plemons’ ambiguous quality suits his opaque stories, while Stone’s charisma warms the edges of his chilly filmmaking. The result is a singular, freaky challenge that’s definitely worth accepting.

It all adds up to a film that’s brave, fascinating, grim and irreverent: in other words, vintage Verhoeven.

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.

Apart from the usual stylistic clichés, this isn’t your typical Anderson movie. Structurally, it’s unconventional.

All set around the American Civil War, Chapter 1 is a three-hour slow-burn that takes some patience, but rewards with handsome vistas, moments of thrilling action and characters that will likely grow in significance in subsequent instalments.

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.

Good Mourning is content with providing sheer, silly entertainment, filling the comedy void left by the likes of Seth Rogan and Jonah Hill perfectly.

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

Though it plays like a glitzy musical in the mould of Bohemian Rhapsody, Elvis also works as a much-needed lesson about America’s cultural history.

The Beach Boys makes up for its narrative familiarity by exploring some of the lesser-known behind-the-scenes tidbits.

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

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.

Combining spectacular effects work with a surprisingly provocative script, it’s a superbly made sci-fi adventure that delivers plenty of robo-thrills.

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.

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

If you’re looking for a good-old fashioned romp, stylishly made and frequently hilarious, this ticks all the boxes.

Perkins ensures everything services a story that comes armed with at least one almighty twist. Measured in pacing and tone, his film also feels extremely moody thanks to the overcast skies captured by cinematographer Andrés Arochi.

A perfunctory romantic subplot linking Andy to a bland property developer (Patrick Brammall) should have been edited out and the ending is perhaps a little too sentimental. But this is still a smart and satisfying sequel. The Devil Wears Prada 2 feels like a sleek update on a classic, not a cheap knock-off that falls apart in the wash.

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.

Both Song Joong-ki and Choi Sung-eun are phenomenal throughout Kim Hee-jin’s feature film debut, transforming My Name is Loh Kiwan into a film that will stay with you for a long time.

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

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.

They Will Kill You is a deeply unserious comedy horror that provides just enough plot to get it to the next bloodbath. It might not work for some but there’s something in the enthusiasm of all involved that is hard to resist as they craft a gleefully chaotic spectacle.

Sweeney is excellent as the whistleblower who slowly but surely realises the game is up and creeps from poised confidence to frightened, tearful regret. Hamilton and Davis are also very believable as agents in complete control.

Through it all, the overwhelming sense BTS: The Return gives is one of a group at a crossroads, figuring out which way to turn.