Of course, if you are not steeped in football lore or are no particular fan of the game, you might consider Saipan a film for sports enthusiasts only. However, thanks to fabulous performances and a witty, perceptive script that’s more concerned with the game of life than the game itself, it has something for everybody.

Both actors imbue events with personality, bringing rich textures to the story that have been largely missing since 28 Days Later, resulting in a supremely satisfying horror thrill ride with unexpected depth.

It goes without saying that the screenplay, unavoidably melodramatic in places yet never mawkish, is designed for audiences to root for the couple, but Jackman and Hudson are so on their game, so engaged in making Mike and Claire believable that only stone-hearted cynics won’t end up loving them.

Feig could be accused of over-egging puddings in the way he ultimately ties the threads of his characters together, and there are one or two moments when too close an examination of his house of cards might send it tumbling to the ground, but the end result is a satisfyingly scary chiller that benefits from not always taking itself seriously.

If spending time in the bio-luminescent forests and turquoise oceans of an alien planet is your thing, then Fire and Ash does everything you’d hope. It’s a marvel of CG craftsmanship and of Cameron’s pursuit of perfection.

While perhaps this doesn't quite announce Winslet as a major new directorial voice – her approach is more functional than eye-catching – Goodbye June is still a worthwhile film with some impressive moments, and seems likely to leave many a viewer with a tear in their eye.

It’s a tender – and sometimes affecting – portrait of the artist, one that hopefully will allow modern audiences to remember the contributions Lorenz Hart made to popular culture.

Like many great American character studies, you won’t look away and will laugh as much as you condemn. Chalamet’s performance is a feat of sheer intensity.

Devised by Brutalist composer Daniel Blumberg, the songs are spirited, and Mamma Mia! star Seyfried invests fully. But with characters often reduced to making declamatory statements, it becomes an increasingly vexing exercise.

It should be funnier, it should be more frightening, and it needed everyone involved to bring a feistier game to a film that began life as, well, a game. Here’s hoping any future reservation at the deathly diner has a more mouth-watering menu.

Damien Chazelle's blisteringly told tale of an aspiring jazz drummer and his bullying mentor is a hugely entertaining, refreshingly subversive take on the well-worn "inspirational teacher" theme.

It's safe to say that this particular entry in the series gets a little darker, a little more unsettling and a whole lot weirder than either of the previous instalments.

Once again, Nathan Crowley’s production design is wondrous, a multi-colour extravaganza that truly brings Oz to life. Simply spending time there – with its fields of tulips and fireworks in the sky – is one of the great pleasures of this movie. A film that will surely satisfy Wicked’s extensive army of devotees.

Combining legacy characters with a new trio of younger illusionists, the third film in this action-comedy series is a busily disposable – if fitfully fun – combination of reunion gig and new-generation franchise spruce-up.

The best bits are frightening, memorable and distinctive. Hit and miss then, but Keeper does at least further cement Perkins as one of the boldest independent voices in horror around.

Powell proves to be a charismatic hero, bristling with anger but also able to stay alive thanks to his own ingenuity and much-needed assistance from those he meets on his travels, such as cameoing William H Macy, Emilia Jones (CODA) and Michael Cera (star of Wright’s Scott Pilgrim vs the World), whose mercurial rebel lives in an elaborately booby-trapped bolt-hole worthy of Rambo.

Two actors, among the very best of their respective generations, come together for Dragonfly, a bleak but captivating study of loneliness and social care set in contemporary Britain.

Under the Skin delivers startlingly original imagery amid the Scottish landscapes and finds queasy horror everywhere thanks to Mica Levi's pervasive electronic score. It's an experience you'll not forget in a hurry.

This pleasingly madcap comedy-drama will no doubt satisfy fans of Lanthimos’s off-kilter take on the world around us.

The first Black Phone was a serial-killer horror with a side order of supernatural, but this gripping sequel embraces the paranormal and gruesomeness in all its gory glory, too.

Deliver Me From Nowhere works best when it’s small, when its sharper focus is on a troubled thirty-something burying himself in the creation of what would become one of his most celebrated records, digging deep into music both haunting and healing.

Perhaps it's hyperbole to call the film del Toro’s masterpiece – especially a story that has been told countless times. But this is a work that is the accumulation of three-and-a-half decades of filmmaking knowledge. Gory and grim it may be, but it is a tragic tale told in a captivating manner.

The pity is that one look at the cast list promises riches that never surface; these are hugely talented actors feeding on the scraps of a solid premise made stagnant by the screenplay’s myriad shortcomings.

Certainly, this lacks the cheekiness of, say, M3GAN. With the exception of an amusing riff about Depeche Mode (better than Mozart, according to Ares), it requires a much-needed humour injection. In Tron terms, the future is less bright than po-faced.

For sure, Bigelow has crafted a film that works both as nerve-shredding entertainment and as a thought-provoking anti-nuclear statement.

It has been a case of diminishing returns regarding the nine-movie nerve-jangling blockbuster juggernaut and while Last Rites hardly matches the pioneering nightmare spirit of the original film, it churns the cliché chills with a pleasing confidence.

It would be unfair to claim this closing film concludes on a whimper. But neither is it quite the grand finale the title would have us believe. More like a pleasant stroll with characters you know and love.

There’s still a good time to be had, but such beloved characters deserve a better film than this – and seeing as the actors wrote it they’ve only themselves to blame.