Genre fans will admire the ceaseless mayhem of this rare Indian entry to the carnage canon. It’s not The Raid, or even this year’s Monkey Man, but it’s got some slick moves of its own.

With no Ghibli film in the offing (although My Neighbor Totoro is getting a UK cinema re-release in August), The Imaginary is an often delightful way to fill the anime gap.

Super skilled and eminently likeable, Nyong’o is a saving grace in the eye of the storm.

With MaXXXine, writer-director Ti West concludes his Mia Goth horror trilogy (following X and Pearl) with a thrilling slasher that’s both fond neon tribute to the genre’s ’80s gory heyday and a brisk, smart look at the role of women and power in Hollywood.

It charts an unexpected success story that leaves you hopeful others will embrace its lessons.

Like some of the ’50s and ’60s biker flicks it homages, The Bikeriders runs out of gas in a predictable final reel that never quite delivers the promised heartache. Still, it’s an intelligent and strikingly photographed film, a journalistic but romantic snapshot of a moment in time lost forever.

The issues are so profound, in fact, with such implications for the human existence, a single film could hardly scratch the surface. Yet Eternal You is a very good way to start digging.

It could all come across as terribly zany, or sentimental. But Baker’s writing and direction has a near-hallucinatory sparseness to it.

It is engagingly played by a cast including Sienna Miller, Sam Worthington and Luke Wilson, and handsomely mounted too, with Costner’s vision of the West’s untamed grandeur fully deserving the big-screen treatment.

Sasquatch Sunset’s mood sits somewhere between the queasy surreality of Jim Hosking’s The Greasy Strangler and the winsome daftness of Daniels’ Swiss Army Man. It’s easy to see this following in the (big)footsteps of those and acquiring its own cult following.

It’s hard to understand the emotions coursing through Marvin’s body, as it’s wrapped in gaffer tape or barbed wire in a series of improvised exercises in fashion-as-armour. She admits to fear, but never to doubt as she embarks on her single-minded mission to subvert Russia's remorselessly anti-LGBTQ+ agenda.

With enjoyable characters and smart dialogue, French-Canadian director Monia Chokri makes her dilemma a very entertaining ride.

Sing Sing’s most affecting quality is its commitment to reality over shock value. With Domingo masterfully anchoring the ensemble, it’s never bogged down by the specifics of the men’s crimes.

The result is an empathetic, emotionally candid treat – Pixar’s own brains trust back at full capacity.

It’s rare for something this necrotic to feel this fresh.

Watching this sturdy, sensitively acted Old West drama, it’s easy to wonder how many westerns Viggo Mortensen would have made if he’d been kicking about in the ’50s and ’60s.

It’s a bleak, brooding tale, steeped in folk mythology and infused with so much atmosphere you may feel the fog closing in around you in the cinema.

The film is at its most entertaining when it’s a showcase for Smith and Lawrence’s easy chemistry, whether improvising a Reba McEntire country song to appease some rednecks or bantering about Burnett’s bad eating habits during a convenience store hold-up. They’re eminently watchable. Then again, when the highlight of an action movie fourthquel comes with the two stars watching a younger man do his stuff, it might be time to call it a day.

With his energised 2021 breakthrough Sweat, von Horn followed a young influencer grappling with the dark side of online life. This period piece offers a very different kind of female odyssey through a lonely and forbidding world. The result is harrowing but seriously impressive.

It clocks in at three hours but not a scene feels superfluous as its central quartet – dad, mum, two teenage daughters – squabble, fall out and finally implode in a subversive final act.

Santosh positions its protagonist as a fundamentally decent woman in an impossible situation, rather than a crusading cop on mission. If ‘Training Day with more grey areas’ sounds dull, it’s anything but.

Bertrand Bonello’s sci-fi epic-cum-period-romance-cum-stalker-thriller is absolutely teeming with ideas. That they don’t all come together in an entirely convincing way doesn’t spoil the overall effect of something thought-provoking, very handsomely made, and appealingly weird.

Motel Destino never deviates radically enough from that tried-and-tested Postman template to throw up too many surprises. The result is frisky but fleeting.

Sorrentino is clearly trying to move with the times – even if he’s still most comfortable in the decades he’s depicting here on screen.

Imagine Pedro Almodóvar directing Sicario and you’re close to the tenor of this exuberant cartel-thriller-stroke-musical – which, as if those elements weren’t heady enough, comes with a tender trans twist.

Rumours is a strange brew, but there’s a lot of fun to be had if you like its flavour.

It shouldn’t all be so funny, but it is, and it’s to Baker’s huge credit that he’s able to inspire laughs and huge enjoyment from this madcap story without leaving you feeling that the woman at the heart of this mess has been short-changed and exploited for our pleasure.

A cinematic Rorschach test, it’s more likely to reaffirm your views on the man than challenge them.