Director Tim Story (Barbershop, Ride Along, 2005’s Fantastic Four) skewers Hollywood convention and urban stereotypes in a rapid-fire satire that manages to be both scathing and affectionate. If the plot ultimately feels a tad stretched - despite the 97-minute run time - you’ll likely be having too much fun to care.

Series veterans may rue the lack of certain supporting players (the hot-headed Inosuke is largely absent, while usual comic foil Zenitsu is all gritted teeth and gripped swords here) and the lack of levity may sting in a series renowned for its malleable tone and endless charm, but Infinity Castle achieves the impossible by roaring past Mugen Train as Demon Slayer's best adventure yet.

Playful, patient and finally poignant, Schreier’s deceptively placid odd-couple winner runs the risk of looking minor. But it carefully exceeds expectation, helped in no small measure by Langella’s wily, wistful lead.

An outlandish high concept is a recipe for hope and humour in a film that bears viewing more than once.

Style is substance in Ford’s second film. Unlike many puzzle-piece movies, it thrills on every level.

Wiser, sadder but very much alive and kicking, T2 is a film that knows you can’t compete with the ghosts of the past. But at least you can dance with them.

As a celebrity’s-eye-view apocalypse movie, This Is The End delivers huge guffaws and large-scale carnage with enough gusto to mask the indulgences. You’ll never look at Michael Cera in the same way again.

Like "Martha Marcy May Marlene," this lo-fi psychodrama reaps the benefits of a mesmerising female lead, only this time as cult leader not disciple. Marling continues to impress.

The sci-fi premise seems preposterous, but get beyond that and Gedeck’s predicament absorbs.

The latest Halloween installment is fun while it lasts, but unlike its predecessor, it’s not a classic for the ages.

A master docu-maker gets the inside dope on a master dissembler. It requires stamina, but its charismatic subject exerts genuine magnetism.

Such is the in-built disposability of this sort of lightweight streaming fodder that those who watch it will probably have forgotten it inside of five minutes.

A popcorn-friendly horror romp, Fear Street is a colorful addition to Netflix’s catalogue.

Scott’s usual scope and scale meet unreliable narrators for a thought-provoking tale of systematic abuse. In a classy cast, Comer shines brightest.

Debut director Mimi Cave and screenwriter Lauren Kahn maintain a sure grip over the tonal shifts, ensuring the messages don’t drown out the entertainment factor.

All the elements of a modern Hitchcock-style murder mystery are brilliantly handled, while the sort of tricks usually deployed to misdirect the audience are intelligently positioned to draw us deeper into Mima's tortured psyche until fantasy blurs into deadly reality. The result is a smart, innovative and gut-wrenchingly disturbing film.

The leads make sweet music in an affecting four-piece that, if not note perfect, plays well to their individual strengths. A marked improvement overall on this year’s other Quartet.

It’s absorbing to a point, but adds little to what’s gone before.

This is also a Christmas horror-comedy – and one of the best since Gremlins.

Pete Davidson lacks the charm to make an insufferable protagonist likeable.

The Witcher: Nightmare of the Wolf is better than Netflix’s live-action series. While it’s by no means perfect, it hints at a smart evolution of a franchise that’s learned the right lessons from Geralt’s debut. It’s scarier, slightly more focused, and feels like a living, breathing world – monsters and all.

Logan Lerman delivers a career-making turn in this sweet, sincere film. It might not be a massive hit, but it will certainly ease a few paths through the awkwardness of adolescence.

It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.

A feelgooder spiced by social conscience, this is one of those underdog productions with potential to punch well above its weight.

An unexpected delight thanks to its two leads and expertly executed action.

Wan has fashioned a nitro-fuelled thrill-ride that forms a fitting tribute to its blue-eyed bro.

A retro science-fiction actioner with both brains and brawn – quite a lot of brawn, actually. Surely destined for cult status.

Heartfelt and inventive, this documentary from exiled director Ali Samadi Ahadi chronicles Iran's abortive Green Revolution during the summer of 2009.