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.

At the end of the day, it’s not really Hamlet, it’s something new that uses the words from Hamlet. But at its best, it’ll still hit you with all the force of Shakespeare's existential masterpiece.

Finally, someone has returned to The Damned United’s cunning formula for a good football movie: don’t show any football.

Even if it doesn’t fully probe the socio-political realities of the prison experience, Wasteman succeeds as an emotional survival tale. Here’s a film that proves that sometimes, the most terrifying part of prison can just be who you’re locked up with.

Part meditative exploration of grief in the wake of the sudden loss of her father, part exhaustive detailing of the process of training a complicated and challenging creature, the film adaptation hews closely to the same description.

There’s something oddly appealing about the fact that Rebecca Zlotowski’s understated thriller, A Private Life, stubbornly refuses easy definition – other than as a modest romp that allows Jodie Foster to perform in another language. And if you’ll watch Foster acting in anything, you’re gonna love watching her do it in French.

Empathetic, funny and myth-busting – there are 300,000 children and adults living with TS in the UK alone whose condition will be better understood for this film – it gives you permission to laugh at the situation while feeling only compassion for the man.

Everything is wrapped up a little too neatly by the final act. But with the epidemic of loneliness only growing larger, maybe, every once in a while, a sweet, hopeful ending is exactly what audiences need from cinema. To feel seen. To be reminded that it's going to be okay.

This is simultaneously the nastiest and most soulful of the franchise to date – and the most probing.

From the opening moments it is clear that The Extraordinary Miss Flower is the work of two artists utterly in command of their vision, and fully trusted and embraced by their collaborators.

For brain-free Friday night viewing, you could do much worse than spend 90 blood-soaked minutes with not-so-gentle Ben.

Sure, it’s a somewhat honeyed portrait that lacks voices to put the other side across. But as the flimsiness of the case against Assange is laid bare, so too is a system that tried to suffocate, torture and crush him to protect its interests.

When the foot comes off the gas, the cracks become apparent.

As in her Oscar-nominated documentary The Four Daughters, Ben Hania refuses to let the audience look away.

Marty Supreme is a stunning achievement, a breathless yet precisely controlled joyride full of vivid characters, hairpin turns and did-that-just-happen moments – and a modernist fairy tale about big ambitions colliding with grubby street-level realities and capitalism’s seedy imperatives. This is a film that’s built to last.

A delightful premise never fully comes to life in this sweet romcom, which is a real shame because it gets off to such a strong start.