Newton is a fun addition as the bubbly Faith, but the game Weaving is MVP again: a sharp finger in the eye of the one percent. This is a broader sequel, though, that only has more of the same for her to do. It’ll pass an evening but it won’t blow your mind.

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.

It’s often enthralling – especially with Murphy at its heart – though rarely explosive.

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.

And that’s the major problem here. When the first Scream hit, it had a ball deconstructing ’80s and ’90s horror movie tropes. Six movies and three decades on, it’s become the very thing it was built to deconstruct, trapped in its own lore and fumbling about for its old smarts. The genre has moved on. Scream needs to get with the times.

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.

Matthew Robinson’s sloppy screenplay feels like it may have been churned out by AI itself. It’s crammed with leaden exposition and clumsy with hammy dialogue in which everyone over-explains themselves, as if we’re watching it with one eye on our phones.

The class satire, the strongest suit of its Ealing ancestor, is blunter than a burglar’s cosh. The murders should be the juice in this devilish cocktail, especially with Zach Woods, Topher Grace and Ed Harris as the marks. But the deaths are throwaway affairs.

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.

Padraic McKinley’s Great Depression gold heist flick has a welcome ’70s vibe and a careworn charm, mostly emanating from the always trusty Ethan Hawke.

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.

Wuthering Heights was never written as a traditional romance, rather a tale of obsession, revenge, bitterness and betrayal. Still, it helps if you're made to care about its doomed lovers.

This film is less a fully fledged exercise in storytelling, and more a succession of stained glass windows, sumptuous enough that you almost forget the dark stories they depict.

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.

A difficult and, at times, harrowing watch about an important subject, de Araújo’s unflinching eye and great care has a tonal precision the gravity of the events shown warrant.

Kangaroo has a love for the people, landscape and wildlife that leaves a warm glow. It’s not doing anything wildly different or unexpected, but it’ll put a smile on your face.

Happily, Send Help is both a return to the world of horror and a major return to form for the Evil Dead man, who’s been waylaid with bland franchise fare in recent years.