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

For those who were there, the film provides a portal back to a golden age. For everyone else, it’s a reminder of those special teen years – when a plastic cup filled with warm lager and a sunny afternoon in a park makes for the biggest adventure of your life.

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

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

To say any more would spoil the film, but rest assured this is top-drawer MCU.

Director and co-writer Justin Chon’s film is not saying anything new here, just presenting it slightly abstractly with brief flashbacks (and flash-forwards) alongside Joyo’s unusual tree and plant-based rituals.

There’s no big twist to speak of, but this is a white-knuckle thrill ride that’s up there with Shyamalan’s most gripping work.

The great storyteller has been careful in interviews to remind us The Fabelmans is only semi-autobiographical, but everything cuts so deep that you’re left wondering if Spielberg left any of the truth out at all.

Much like a bad date, Cat Person feels like a missed opportunity.

Almost completely built out of clichés and corn, there’s very little in Plane that hasn’t been seen before, but it very rarely matters. Exciting without ever really thrilling, it’s an immovably solid actioner – a fun Friday night pizza movie packing a handful of relentlessly unfussy action scenes that deliver exactly what they promise.

A riot of sex, murder and intoxication presented with an appropriate aural and sonic ferocity.

Robbie and Pitt still provide enough star-wattage to power most viewers to the end-credits. Babylon does babble on (sorry) past its natural conclusion, but what party ever ended when it was supposed to?

Anchored by phenomenal performances from Kim and Kang, JUNG_E’s potent dramatic beats inject much humanity into a well-worn and predictable premise.

This could easily have smacked of trying too hard, but Johnstone really seems to have pulled it off.

Lydia Tár isn’t a real person, but this riveting film about the corrupting effects of power and privilege will make you think she is. That’s partly because writer-director Todd Field has created a terrifyingly believable character and world that she presides over.

This isn’t anyone’s personal story – it’s just the most filmable bits of a fake past, awkwardly, beautifully, pointlessly patched together at 24-frames per second.

It’s not a film for everyone, especially if you’re craving fast-moving action. But for Poe fans, it’s a grisly treat.

I Wanna Dance with Somebody isn’t as illuminating as it could be, but it still feels like a fitting tribute to a brave and complicated artist with a genuinely incredible gift.

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

Throughout, Guadagnino audaciously but successfully balances some gut-wrenchingly grim and gory scenes with moments of genuine tenderness.

Swapping out historical accuracy for crowd-pleasing scenes of blood-curdling female empowerment, The Woman King is somewhat conventional as it plots its emotional beats, but it’s power comes from its rousing performances, especially Davis, who can knock a man dead with her stare, let alone her machete.

It’s not a naive film, but rather a hopeful one. Despite a world where darkness lurks, there’s light at the end of this tunnel.

Superbly marshalled by Gray, the ensemble cast is excellent – though if you had to pick a stand-out, it’d be Hopkins, as the kindly-but-principled grandfather. He casts a huge shadow over the film, a moral compass for all to follow.

Aftersun may be small in scale, but it leaves a distinct and lasting impression. No question, it’s the best British movie this year.

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

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

My Policeman suffers at the hands of a slightly depthless script, and all three sides of this sad and wretched love triangle mostly feel like standard-issue archetypes.

The Banshees of Inisherin is that rare thing: a film that will have you chuckling one minute, gasping the next. A story about what matters more – your legacy or your life – McDonagh has created a work of feckin’ brilliance.