Not every performance is assured – though Nina Ye is consistently impressive – and the script includes perhaps one twist too many. Yet Left-Handed Girl remains a sensitive and affecting drama that avoids sentiment in favour of more grounded emotional truths.

It’s weird, in the year 2025, that it seems timely to point out that the Nazis were bad. But Nuremberg, an old-fashioned and satisfyingly complex morality tale in the guise of a courtroom drama and spy thriller, does that job in impressive style.

Although the quips aren’t always sharp enough and the sleight of hand a little lacking, it takes a hard heart not to cheer as a few young victims of a broken system carve out their own little bit of magic.

It’s a movie that got up on the wrong side of the bed and compensated with four quadruple espressos.

For a study of human connection at its most honest and affecting, with two remarkable lead performances, Dragonfly is a powerfully striking experience.

Measured rather than playing to the gallery, The Choral is Brassed Off in a minor key – an elegant, Yorkshire-set exploration of music as a spiritual morale-boost in the darkest times. With Ralph Fiennes gravely essaying the controversial choirmaster at its heart, it does a lovely job of swerving the obvious notes but misplaces its stirring crescendo.

Clint Bentley’s Train Dreams is a peach of a picture. At once miniaturist yet epic, it’s an exquisite film that touches on every human emotion – agony, ecstasy, discovery, surprise, togetherness, loneliness – without contrivance or strain.

This is Sweeney’s film. Christy is a career-best turn, sure to draw favourable comparisons with Hilary Swank (who, funnily enough, gets a namecheck in one scene, as Million Dollar Baby was released during the movie’s timespan). She may not be a problematic dude, but she’s certainly Michôd’s most impressive lead performer yet.

It cleverly pulls at the supposed laws of the series in a way that makes it more interesting without diluting the fearsome nature of the title character. Trachtenberg is making the franchise richer with every instalment. And if the film’s final shot is any reliable indication, he’s far from finished.

Relay is an old-school thriller with a drum-tight script and real style.

Like Nomadland, another film that maps out rocky terrain with impressionistic grace, Hamnet is a deep-felt ode to loss and resilience. Zhao doesn’t just tell you about the healing power of art, she shows you. Prepare your tear ducts accordingly.

There is so much talent behind and within Nia DaCosta’s provocative adaptation of Henrik Ibsen’s Hedda Gabler that it’s easy to embrace as an inventive artistic experiment.

Needless to say, Souleymane’s Story is not an easy watch. It’s a tough, unsparing and often heartbreaking look at life for the migrants who make the online world tick, and a jolt for those of us who use it unthinkingly.

If you want American gothic with a side of pancakes, you’ve come to the right place.

There’s still plenty here to make you shiver, but in letting events out of the basement this sequel has also released much of the tension.

Stone and Plemons’ verbal battles of wits are worth the price of admission, even if the script co-written by Will Tracy (The Menu) is overly reliant on culture war jargon.

As with the previous Knives Outs, the satire is applied in broad but enjoyable brushstrokes.

This family endeavour is an acting masterclass, and we should be grateful that it’s lured Daniel Day-Lewis back into acting after eight years in the metaphorical woods.

Despite grasping for topicality and insight into human nature, Tron: Ares doesn’t have anything new or interesting to say.

Cinematographer Pal Ulvik Rokseth’s handheld camera work, some really slick editing and canny use of real news footage, combined with impressive CGI, give it all a pulse-raisingly immersive quality, like a plunge into the underworld.

It doesn’t all work: the religious iconography is too obvious, and the more lurid horror elements – like the obsessive fans who literally haunt Cam during his training – can be so heavy-handed they’re more silly than scary. What never falters, though, is Tipping’s avid commitment to his concept.

Despite an occasional burst of self-mocking glibness (mostly via Robbie, who skirts but never quite tilts into the manic-dream-pixie playground), this is a movie that isn’t afraid of sincerity, and it brings a bit of silver-lining energy to our overcast world.

The film’s primary feelings are anger and paranoia. As we watch this depiction of a life lived looking over your shoulder, we recognise these as the most commonly, deeply felt feelings of our age.

Cheesier than a wheel of Stilton and about as edgy, Downton Abbey bows out with a cosy but loveable final instalment that will leave few dry eyes among long-time fans of Julian Fellowes’ British TV thoroughbred.

Remake is emotionally shattering.

Martel’s forensic doc shatters any sense that, for her fellow Argentinians, the colonial burden has been lifted. It’s an intimate pinhole camera capturing an IMAX-sized story.

The performances are solid, with an excellent Jude Law all inscrutable psychopathy as a younger Vladimir Putin and Alicia Vikander the perfect embodiment of an amoral post-Soviet arrivista, and the chilly world-building works well enough, but there’s a missing ingredient – actual Russians.

Beyond the regular crunch of fist on bone, The Smashing Machine is an unexpectedly gentle, soulful character study that has Johnson undercutting his crowd-pleasing ‘The Rock’ persona with vulnerability and boyish uncertainty.