Apart from the confetti-cannon finale, this isn’t the hackneyed stereoscopic where things burst through the screen, but an immersive front row and on-stage spot at Billie Eilish’s 2025 world tour.

The Devil Wears Prada 2 is one of those nice surprises, a so-called legacy sequel made with love and executed with flair. Think Top Gun: Maverick with better hats.

The timelines fuzzy (it’s difficult to discern when she actually left movies behind) and other personal details are scant, but what shines through is the obvious affection between interviewer and subject. It’s a rapport that engenders an engrossing, conversational tribute to a mostly unsung great.

Admittedly, the dialogue could be sharper – a few too many zingers zonk out – but Normal goes about its carnage with such sincerity, it’s impossible to resist.

Eerie yet entertaining, it’s Jenkin’s most accessible film so far, while remaining anchored to his core Cornish principles.

It’s not a perfect movie, but it’s also never, as Lori grudgingly notes about Julian’s work, uninteresting. And in this cultural moment, that’s an authentic win.

While it would be interesting to see a film about a woman trying to break kabuki’s glass ceiling, part of Kokuho’s charm is that it celebrates the art form as it is, not as it might be. It’s a wonderful demystification of a mysterious art form.

Inspired by true events, it’s a story of fruitless obsession ​that Werner Herzog must be kicking himself for not discovering first.

Sorrentino explores these heavyweight themes with his usual wit and high style – as well as a standout soundtrack of haunting classic cues and Eurodance bangers. Surreal, comedic touches also prick the pomposity of La Grazia’s cloistered world.

What makes Splitsville stand out? Simply put, it’s goddamn hilarious.

A slow cinema treat, Two Prosecutors rewards patience, with endless waiting rooms and antechambers both a limbo state and a last-chance saloon for Kornyev. It’s a haunting, mesmerising, pessimistic piece of work.

The symbolism is lightly worn here in a gently observational film that’s underpinned with humanism and compassion.

Cinema isn't just a medium here, it's a healing balm, able to save the Deliriant’s tormented soul by exorcising his darkest impulses and replacing them with moments of sheer filmic wonder.

With Gosling and Hüller to the fore, Lord and Miller have delivered a cosmic adventure with hope in its heart and a twinkle in its eye.

There are no easy answers in this raw but deeply empathetic film.

There’s a lot going on here: you never quite know what Maggie Gyllenhaal is going to throw into the pot next, but it’s always visually exciting and often funny.

Smart storytelling and snappy editing elevate the jokes and enrich the emotions.

A cradle-to-grave portrait of Ann Lee, the founder of the Christian sect known as the Shakers, the film is, at turns, completely stunning and utterly baffling. At its most successful, though, it doesn’t just depict ecclesiastical fervor – it sweeps you up in it.

As this tight-knit clan frays in the face of this vilification, they listen to one another less and less. And in that sense, it’s very much a story for our times.

If, like Alan Partridge, you believe that Wings were ‘the band The Beatles could have been’, Morgan Neville’s propulsively upbeat music doc is a total treat.

It’s a cliché to say that a film will stay with you long after you leave the cinema. This one could haunt you to the grave.

A blistering take-down of the social media-driven celebrity culture, The Moment combines the anxiety-inducing mayhem of If I Had Legs I’d Kick You and the omnishambles clusterfuck of The Thick of It. It works because the satire’s coming from inside the house.

It all makes for a joyous, energetic and inclusive experience – one that will have you singing Elvis on repeat, and demanding more.

Rosebush Pruning is a fabulous feast for the eyes and ears – and those who like their cinema deliriously queer.

It’s refreshing to see a grown-up big-screen thriller this well crafted – and one that cares for its grounded characters and their predicaments. If it comes off the road once or twice, it’s still well worth the ride.

Because the movie’s on-the-fly style is as scruffy as its protagonists, it’s easy to underestimate the intelligence and artistry it takes to make something so silly.

The animation initially looks like something produced on an early Nintendo console, but what it lacks in finesse it more than makes up for in feeling. It makes sense of how a small child sees the world, saturated and magical but not yet subtly detailed.

Rather than a bruising marital wipeout drama, Is This Thing On? is a film about how new purpose and a new tribe can help you re-evaluate what was there all along (the title, of course, refers to the marriage as well as the mic). It might make you think about relationships differently; it probably won’t make you want to take up stand-up.