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.

Under Paris, then is a cheesy yet canny creature feature romp with gritty Gallic bite, taking itself – enjoyably – rather more seriously than it deserves.

The cast is given a boost by the star power of Vanessa Hudgens, Alexander Ludwig and Paolo Núñez all reprising their roles as members of AMMO (Advanced Miami Metro Operations), plus Better Call Saul’s Rhea Seehorn joining as the ballsy US Marshall daughter of the accused Captain Howard. It’s just a shame they’re all woefully underused in a story that feels so same-old-same-old.

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

Whether Megalopolis is a critical or commercial success remains to be seen but it’s strange enough to surely have a long life as a cult film.

Linklater is a master of pacing and he times this story to perfection; you’ll be aching with laughter by the end.

Brilliant and unmissable.

Sting is derivative but fitfully gripping. Crucially, it’s also good fun: with a main protagonist named Charlotte (lolz), there’s definitely a knowingness to proceedings.

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

Unfortunately, Tarot is exactly as derivative as its uninspired synopsis suggests.

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.

Playful, sexy and compelling, this is one of the best films of the year, with sensational performances from its three leads.

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.

Civil War is something of a staggering achievement of spectacle and sound, with vast swathes of the US convincingly up in smoke. Not once do we get the foul whiff of CGI; not once are we taken out of the engrossing reality of the protagonists.

This film was always going to face accusations of being exploitative – given the way Winehouse was scrutinised when she was alive – but the naysayers needn’t have worried. Taylor-Johnson’s film (particularly the ending) is impressively deft and delicate.

Opus is yet another priceless gift from a once-in-a-lifetime talent – and a reminder of what we’ve lost. Goodbye maestro – and thank you.

Like Afterlife, Frozen Empire ultimately succeeds because it’s so much fun to watch.

Wingard does try out something different here, creating long dialogue-free sequences where it’s just the monsters going toe-to-toe. With Wingard relying on gestures, grunts and groans from his alpha-beasts, it’s like watching the most expensive silent movie ever made.

It’s a beautifully constructed and emotionally engaging tale that’s constantly surprising.

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.

Parasite is nothing short of a masterpiece.

Ultimately, Kids Are Growing Up serves as a meditation on happiness.

Epic in scope and astonishing in its world-building, Dune: Part Two combines jaw-dropping visuals with imaginative action and morally complex plotting to thrilling effect.

Its rich tone of regret, guilt and unspoken malice comes across in careful direction from Tim Mielants, Frank van den Eeden’s shadowy cinematography and subtle, measured performances across the board.

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

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.

Because it takes too long to become truly gripping, it ends up overstaying its welcome during the last few big reveals. Still, there’s no denying it contains enough intrigue to launch the franchise that Vaughn is already planning.

It might be brutally upsetting at times, but Haigh’s film disarms you with its tenderness – leaving you with something much more profound to say about the connections we make and break along the way.