Beyond the music, Meet Me in the Bathroom makes a compelling study of the whole idea of a ‘scene’: how does it happen, why does it end and what’s it all about?

There is an affection – for the people, for the animals, and for the land – that suffuses Lunana with a warm glow.

It’s not going to win too many trophies, but Champions is still a cheering watch.

Unfortunately, writer-director Rhys Frake-Waterfield’s has made just another sadistic slasher movie, notably only for its inexpressive animal masks.

Even in those well-executed gnarlier moments and winky character beats, Scream VI feels a lot more dated than the genre it’s deconstructing.

After the self-satisfied The Gentlemen and the slick but sparkless Wrath of Man, it’s a nice reminder that at his best, Ritchie remains an accomplished teller of tall tales.

The Fallen Sun is a satisfying enough way to kick off a Luther Cinematic Universe.

Rather than an intrusive flashback to the most challenging aspects of the pandemic, it’s a gentle reminder to recognise the hardships we’ve overcome and appreciate the merit in nonlinear progress, even if it takes time.

There’s enough excitement and heart in its familiar pleasures and fresher twists on the franchise’s sports-movie thrills, showing that it has plenty of fight in it even without the rehashed Rocky myths.

It’s a nuanced, careful work that will resonate strongly with everyone who has loved and lost, as well as offering a warning of possible heartbreak ahead for those who haven’t.

It’s gory and mildly funny but its joke – that the bear is acting like a serial killer – is the only one the film has. It wears thin very quickly.

In favouring the dramatic over the didactic, Goldhaber arguably buries the themes of the source text a little too deeply, resulting in a film that isn’t quite the call to action it might have been. Still, its message resonates – and its bomb-setting scenes are as nail-biting as cinema’s best bomb disposals.

Right down to a final shot that’s scored joyously by a brass band, Sachs delivers an achingly beautiful film that’s sexy, sad and so very French.

Two-and-a-half hours long, Pacifiction is a film of extremely long and naturalistic takes in which tiny details become hypnotic – whether it’s the refreshing drinks served at a meeting or the way a woman dances.

With Slate, his co-creator, co-writer and ex-partner, director Dean Fleischer Camp charts a world in which a semi-orphaned talking shell not only makes perfect sense, but becomes a perfect vessel to share painful, relatable truths about life. Dementia, loneliness and heartbreak are all writ large in Marcel’s world.

There’s a lot more Majors to come in future Marvel films and he’s really the only thing here that makes a continued story look even vaguely enticing. With this functional sequel Marvel is still on a dud streak. They now have the whole multiverse to explore. But can they settle into a reality where their films are fun again?

Ultimately, Blue Jean is a non-judgmental tale of self-acceptance, intergenerational solidarity and sapphic power.

You can see the sweat on stage, but it’s harder to detect in the filmmaking.

Even if it lacks the multiversal flexes of Everything Everywhere All at Once and feels just as busy, Polite Society is bundles of fun and announces Manzoor as an exciting, energetic filmmaker to watch.

The theatrical and sometimes overcooked dialogue doesn’t always convince; and despite moments of masterfully staged suspense, the film’s feature-length take on this ethical dilemma – the so-called ‘trolley problem’ – feels a little too decompressed and repetitive.

Eileen feels like a less-than-daring portrait of obsession.

Brisk, easy, brutish. It has explosions, punch-ups, shoot-outs and more than one bit where someone gets smacked in the face with a big hammer. How much more could you reasonably ask? It’s a blast.

It’s one hell of a twisted ride with a troupe of truly awful characters as our guide. It’s damn-near unmissable and, from a safe distance, addictive as all hell.

Joyland’s quiet power comes not through melodrama, which Sadiq scrupulously avoids, but its deep affection for its characters. It’s a modern tale of changing gender roles and the patriarchal crisis that could just as easily have taken place in New York.

If you’re looking for a more granular account of the Oxy epidemic and its perpetrators, Emmy-nominated miniseries Dopesick and investigative journalist Patrick Radden Keefe’s bestseller ‘Empire of Pain’ both have your back. But All the Beauty and the Bloodshed plots a slightly different kind of narrative: one that’s full of defiance and emotion.

It’s a believable portrayal of the impact of gaslighting and brainwashing: Alice’s conviction that she’s at fault will resonate with many audiences.

It is a spectacular achievement hung on a remarkable performance by Savage. Like Barton’s startling artistic vision, Blaze is a masterpiece.

Are its cultish mysteries for everyone? Undoubtedly not. But if there’s a place in your heart for dark, folky mind-benders that plug into the cosmic energy of remote, oceanic terrain (ie your favourite film would be a cross between The Wicker Man and The Lighthouse), you should take a trip across Jenkin’s freaky landscape asap.