By keeping the camera in the vehicle, hauntingly lit with the blur of passing houses and the glow of the mobile phone, Hallow Road invites you to fill the scene at the other end of the line with a shadowy menace that the final stretch really delivers on.

This movie does exactly what a horror reboot should, taking the best bits of the original and heading in a smart, inventive new direction. There’s minimal reliance on nostalgia. It’s daft as hell and a heck of a good time.

Writer-actors Tim Key and Tom Basden’s three-hander, set on a remote British isle, have delivered a rare blend of unkempt charm, emotional precision and soulful folk music with this feature-length expansion of their own 2007 short, The One and Only Herb McGwyer Plays Wallis Island.

Yes, Friendship does feel in many ways like an expanded I Think You Should Leave sketch built on bizarro absurdism and a waterfall of exacerbating circumstances. To his credit, though, DeYoung – a TV director making his feature debut – does take advantage of the opportunity in some satisfying ways.

It’s a lurid psychological horror that’ll thrill midnight movie crowds.

As so often the case, this Marvel effort is best when its talented cast is flinging around snarky banter and self-aware asides.

The Friend is a poignantly affecting watch that mostly earns its emotional payoff, delivering gentle laughs along the way.

Ziba’s relationship with her unwaveringly affectionate mother (Narges Rashidi) is genuinely touching, a rejection of the austere immigrant parent stereotype.

You’ll get several movies for the price of a single ticket in Ryan Coogler’s (Creed) period drama-thriller-romance-musical Sinners. And while some of these disparate elements are more successful than others, the combination is audacious enough to leave you simultaneously awed and overwhelmed by his outsized ambitions.

Malek’s twitchy brand of anti-charm makes him an unusual lead for a film like this, and his outsider energy works better as the tormented killer-to-be than the doting husband. Heller is not always easy to root for, which can make The Amateur a chilly experience.

‘Painful to watch’ isn’t often a term of praise, but this action-comedy about a man who loses the ability to feel physical discomfort channels its unusual, nerve-numbing premise into a fun and oddly romantic ride.

A survival epic full of mysteries and magic, it’s an animated epic worthy of Ghibli.

This is far from the disaster that was predicted. It’s cute and cheerful, but its efforts to make Snow White both respectful to the original and relevant to a new audience leave it stranded in some smudgy grey areas.

If you take The Alto Knights on its own terms – as an eccentric but engaging curio – there’s still plenty of fun to be had.

A moving and humorous coming-of-age story which is told with brio, avoiding the usual divots of social realism misery.

We want to be there with them in the fading light, and that’s the might of Sach’s quiet little ode to friendship.

You can expect Humphrey Bogart and Ingrid Bergman-like banter from Robert Kaplow’s finely-tuned screenplay, an expert evocation of the ‘40s.

Last Breath depicts a workplace where instead of fabricated conflict coming from villainous colleagues, a team of people are battling with their own souls while under extreme duress. Their conscientious solidarity forms an undercurrent that breathes oxygen into the heart of this moving thriller.

With this quick-witted and sexually supercharged espionage caper, Steven Soderbergh and his screenwriter David Koepp (Jurassic Park) have just remade Tinker Tailor Soldier Spy for the Industry generation.

It’s a document of a febrile time and a wake-up call for a fizzled revolution.

Maybe art does demand something profound of us all, but here the big, interesting ideas have been chipped away in favour of subpar scares, leaving this film’s own cult appeal looking rather limited.

Away has the mild rush of a coming-of-age dream, the sort that lodges in your memory as symbolic and significant as you pass from one stage of life to the next.

Bronstein crafts a thriller of teeth-grinding magnificence centred on Byrne as the indefatigable figure at the centre of this whirlwind of unsolicited advice.

Mickey 17 may lack some of the political bite of his previous work – though there are Trumpian elements in Marshall – but it’s unquestionably tremendous fun: a big, strange spectacle that’s unlike most blockbuster cinema out there.

It’s been a while since we’ve seen a movie that feels as though it was made by someone who just discovered the collected works of Quentin Tarantino and Guy Ritchie.

‘Please don’t be boring,’ Nelson’s villain beseeches Wilson in a clutch moment. Who wants to tell him?

As ever, it’s Zellweger that provides the secret sauce.

Memoir of a Snail is not just a stop-motion animation that feels handmade from top to bottom. It tells a deeply human story about a hard-won route to happiness – with all the pain and missteps that go with it.