Nighy has never been better than in this richly rewarding ’50s-set drama about a repressed and terminally ill man who discovers life just as it comes to an end.

Without exactly revolutionising the form, Semans’s debut delivers an unsettling tale of psychological torment and the kind of creeping dread and shocking climax that hallmarks some of the best horror.

Navalny is a barely believable brew of activism, resistance, poisonings, death squads, exiles and homecomings. Most of all, it’s a story of courage in the face of ruthless repression and one of those all-too-rare geopolitical stories where the bad guys actually get some comeuppance.

Campion reveals her characters slowly, drawing out crucial details that we should have seen all along with a subtly that will make repeat watches richly rewarding. It’s a triumph. A ten-year wait for her next film would be too much.

For three decades Clifton Collins Jr has been bringing a memorable spark to relatively small parts in everything from Capote to Pacific Rim. Jockey is his turn in the spotlight, giving the veteran character actor a nuanced lead role to inhabit in a slice-of-life racetrack drama.

Plaza, who follows up Black Bear with another darker turn, is great in a role that lets her badass side out for a rampage.

Dreamweavers, visionaries, plus actors… filmmaking pair Justin Benson and Aaron Moorhead’s latest DIY sci-fi bubbles with mad ideas and eerie pre-apocalyptic vibes.

This is a smart, meaningful first film, with nods all over the place to classics like The Shining and Rosemary’s Baby, as well as more recent obvious touch points like Get Out. It’s not all subtle, but then neither is prejudice.

While you know the stakes are high, Call Jane never seems particularly interested in proving it.

A mesmerising John Boyega lights a fuse under this poignant but by-the-numbers depiction of an Atlanta bank siege in 2017.

This film is about wonder, not balance, and it turns us delirious in the white heat of this pair’s chaotic, unflinching passion.

What Sing 2 does offer is more big musical numbers (‘Bad Guy’ by Billie Eilish backdrops a great visual gag involving a floor polisher), lots of eye-popping animation and a sugar-high ending that will delight kids and U2 fans alike

T​his​ smart and taboo-defying social ​​horror draws you in before abruptly bearing its teeth.

With the faintest debt to The Exorcist and HR Giger, and a barnstorming turn from Imelda Staunton turn as a nun with some dark secrets of her own, Garai has found an arresting way to position male sexual violence: as an age-old curse that brings with it the bitterest of consequences.

Possibly the most uplifting film ever made about a time of unending violence, Kenneth Branagh’s Belfast comes with a bruised heart and an unquenchable spirit of optimism.

Only Pedro Almodóvar could wrap a cry of pain about Spain’s inability to come to terms with its recent dark history into a gorgeous-looking melodrama about two mothers drawn by fate into a complicated, painful and ultimately nourishing relationship.

Inventive, incisive and full of affection for the originals, this is easily the most fun the series has been since Scream 2.

The twin perspectives yield a film that is both impassioned and elegiac, dynamic in its sense of the social struggle and the moral options, and yet also achingly remote in its fragile beauty. The result is even more remarkable than it sounds.

There’s something deeply moving, almost tragic, about a good man being slowly enveloped by the dark times around him. Munich captures it nicely.

The Lost Daughter expertly juggles tone, hopscotching between timelines and slipping from tender to tense and back again, always challenging the viewer’s judgments and preconceptions in unexpected ways.

What happens when you haul all the trappings of a genre rooted in post-war cynicism and lay them out raw for modern-day moviegoers? You end up with something like Guillermo del Toro’s Nightmare Alley, a heady, fleeting pleasure that prioritises craft over moral complexity, with themes of class friction and fraudulent spirituality that would once have landed like haymakers packing much less punch today.

Wachowski is still full of ideas, even if she doesn’t always wrangle them into a strong plot, and there is much to enjoy in this revisit to one of cinema’s most original worlds.

Peter Parker’s second Spider-verse adventure suggests that the concept just works – brilliantly.

There are a few genuine surprises as this goes, but many more predictable twists. When the film engages with the real World War I, it feels pat, a ‘1066 and All That’ trip through the ‘best bits’ of history

This is a great piece of history, about people who took huge risks every day and every night just to be allowed to be themselves.

There’s a touch of diet Brando about Elgort’s reformed bad boy-turned-lovebird, but Zegler brings a lovely brand of innocence and conviction to Maria. And don’t be surprised to see Moreno winning another Oscar. Or, for that matter, Spielberg.

Encanto has a few nifty plot pivots and surprising reveals, but it’s the animation itself that steals the show.

It’s an affable biopic about a great but troubled man, with plenty of artistic spirit of its own.