Relay is an old-school thriller with a drum-tight script and real style.

Like Nomadland, another film that maps out rocky terrain with impressionistic grace, Hamnet is a deep-felt ode to loss and resilience. Zhao doesn’t just tell you about the healing power of art, she shows you. Prepare your tear ducts accordingly.

There is so much talent behind and within Nia DaCosta’s provocative adaptation of Henrik Ibsen’s Hedda Gabler that it’s easy to embrace as an inventive artistic experiment.

Needless to say, Souleymane’s Story is not an easy watch. It’s a tough, unsparing and often heartbreaking look at life for the migrants who make the online world tick, and a jolt for those of us who use it unthinkingly.

If you want American gothic with a side of pancakes, you’ve come to the right place.

There’s still plenty here to make you shiver, but in letting events out of the basement this sequel has also released much of the tension.

Stone and Plemons’ verbal battles of wits are worth the price of admission, even if the script co-written by Will Tracy (The Menu) is overly reliant on culture war jargon.

As with the previous Knives Outs, the satire is applied in broad but enjoyable brushstrokes.

This family endeavour is an acting masterclass, and we should be grateful that it’s lured Daniel Day-Lewis back into acting after eight years in the metaphorical woods.

Despite grasping for topicality and insight into human nature, Tron: Ares doesn’t have anything new or interesting to say.

Cinematographer Pal Ulvik Rokseth’s handheld camera work, some really slick editing and canny use of real news footage, combined with impressive CGI, give it all a pulse-raisingly immersive quality, like a plunge into the underworld.

It doesn’t all work: the religious iconography is too obvious, and the more lurid horror elements – like the obsessive fans who literally haunt Cam during his training – can be so heavy-handed they’re more silly than scary. What never falters, though, is Tipping’s avid commitment to his concept.

Despite an occasional burst of self-mocking glibness (mostly via Robbie, who skirts but never quite tilts into the manic-dream-pixie playground), this is a movie that isn’t afraid of sincerity, and it brings a bit of silver-lining energy to our overcast world.

The film’s primary feelings are anger and paranoia. As we watch this depiction of a life lived looking over your shoulder, we recognise these as the most commonly, deeply felt feelings of our age.

Cheesier than a wheel of Stilton and about as edgy, Downton Abbey bows out with a cosy but loveable final instalment that will leave few dry eyes among long-time fans of Julian Fellowes’ British TV thoroughbred.

Remake is emotionally shattering.

Martel’s forensic doc shatters any sense that, for her fellow Argentinians, the colonial burden has been lifted. It’s an intimate pinhole camera capturing an IMAX-sized story.

The performances are solid, with an excellent Jude Law all inscrutable psychopathy as a younger Vladimir Putin and Alicia Vikander the perfect embodiment of an amoral post-Soviet arrivista, and the chilly world-building works well enough, but there’s a missing ingredient – actual Russians.

Beyond the regular crunch of fist on bone, The Smashing Machine is an unexpectedly gentle, soulful character study that has Johnson undercutting his crowd-pleasing ‘The Rock’ persona with vulnerability and boyish uncertainty.

Those first 40-odd minutes are unbearably tense. Ferguson is a standout in a strong ensemble cast

Not top tier Jarmusch, but still a funny, soulful anthology worth seeking out.

With humour blacker than black bean noodles, the film is a masterful work of cinema which might well be Chan-wook’s masterpiece. And given this is the man who directed The Handmaiden that’s saying a lot.

As with The Shape of Water, del Toro makes no secret of where his sympathy lies and who the real monsters are, but there are surprises here. Not least of which is how moved you might feel in the end.

The usually distinctive filmmaker – Black Swan, The Wrestler, Mother! – is in unflashy form for this solid, starry but not very memorable thriller about one man’s very bad night.

The Roses gets off to an enjoyable start, but like the marriage at its centre, the novelty wears off.

Grab your nan, put the kettle on and enjoy some exceedingly fine thesps hamming it up royally.

Winner of the Best Screenplay prize at Cannes, Young Mothers brings nothing new to the Dardennes’ canon, but there’s comfort in the familiarity of their methodology. They’ve always had a knack for coaxing tremendous performances from even the youngest of actors, and the cast here is uniformly excellent.

Sorry, Baby is a captivating comedy-drama that avoids the reductive binary of hero or villain. Instead, Victor articulates the flaws of humanity, of people, but also the hope we can find in each other and ourselves.