An entertaining, if frenetic, vehicle for Arnett’s Bale-inspired Bats that packs plenty of laughs.

Like marriage, White Noise might not be exactly what most expect going in… but there’s fun to be had in the many surprises it throws your way.

A heated, hysterical battle between Apatow smarts and Animal House smirks. Subtlety takes a hazing, but humour emerges with honours.

An unabashed crowd-pleaser, Hugh Hartford’s table-top portrait avoids patronising its aged subjects, bouncing between sweetly satirical and sincerely moving. Given the theme, it’s only a shame it doesn’t last a bit longer.

Claflin and Bettany stand out among an impressive ensemble in a harrowing, powerful WW1 drama well worth enduring.

It’s packed with in-jokes and lightly disguised portraits of real-life Tinseltown figures; Douglas’ character is reckoned to be across between David O.Selznick and Vallewton. But even without a knowledge of the background, this is sharp, cynical fun.

Kaurismäki adeptly weaves rockabilly musical interludes, a stylised colourscheme and droll performances into a warm-hearted salute to both classical French cinema and working-class solidarity.

Flawlessly designed, with the beautiful 3D cinematography contrasting the clean white futurism of Prometheus' interiors with the black corporeal surfaces of the alien catacombs.

 It might not pack the unbearable menace or blazing horror of the saga's first two movies, but it utterly eclipses the last two. It's exciting, tense and fully impregnated for sequels.

A stellar performance from Geoffrey Rush centres this diverting glimpse into the chaotic life of a great artist.

Never preachy, always engaging, Al’s follow-up to his 2006 Oscar-winner paints a startling picture of a world in crisis.

Recalling the likes of All About Eve and Amadeus, TÁR asks pertinent questions about cancel culture, artistic integrity and gender, while also providing a primer on orchestral politics and musical history.

Its shuffling pace and basic animation all add to the heartbreak as the protagonists slowly unravel, even as they fight to keep a grip.

Director Amat Escalante channels Cronenbergian carnality and Andrzej Żuławski’s Possession, while Simone Bucio and Ruth Ramos deliver stunning performances. Beware: this is explicit stuff.

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

A satisfying standalone launch for Marvel’s latest superhero combines sci-fi action with ’90s nostalgia. Overcoming minor stumbles, it ultimately soars.

King’s flair for transposing peak British TV comedy’s character to film is also apparent, thanks to a fine support haul of Peep Show and Ghosts alumni.

As reality and fantasy blur, we’re taken on an occasionally confounding but enchanting quest with poignant reveals in store.

Cruel and elegant, del Toro’s nightmares remain worlds apart from the pack.

Underpinned by themes of language and identity, writer/director Rich Peppiatt’s rude, raucous film remixes music-movie clichés to Kneecap’s rebel tune with galvanizing verve. Tearing straight outta Belfast on barrelling beats, Kenneth Branagh it ain’t.

As impressive as [Berry] is, though, it’s the kids who shine brightest in a drama whose iron hold on the audience’s attention can withstand the odd dip into credulity-stretching implausibility.

Scott steers his ideas-rich, character-based thriller with brisk authority. Plummer and Williams bring their all.

Sabine Krayenbühl and Zeva Oelbaum’s elegant mix of voiceover, archive footage and talking heads lets “the female Lawrence of Arabia” largely speak for herself, illuminating the pivotal role she played in shaping today’s Middle East.

Here, the working-class milieu invites imagination, adventure, and camaraderie rather than a Ken Loach-style crushing of hope, while a climactic confrontation on divided streets is framed like a thrilling showdown in a black-hat-vs.-white-hat western. But it is the child’s- eye view, the wit, and the generosity of spirit on show that elevate Branagh’s Belfast.

It’s a triumph of design, offering a creepy twist on such classic monsters as living dolls, the mummy and, in particular, the golem of Jewish folklore, a large clay figure that can be brought to life to do its creator’s bidding...

True, John Wick: Chapter 2 doesn’t quite hit the heights of the original – partly because the element of surprise when it comes to the fight-work is gone, partly because it lacks the emotional pull of Wick avenging his wife’s memory. But as badass B-movies go, this really gets the blood pumping.

It may not have the jeopardy of Touching The Void, but when Tenzing Norgay and Edmund Hillary finally reach the summit, we’re treated to an early candidate for one of 2014’s most transcendent film moments. This is genuinely inspirational stuff, and then some.

It's a puzzler that holds the interest throughout the film, but there's plenty besides to enjoy, from Plaza's mysterious, comical appearances to Stella's candid chats with her friends – including West Side Story’s Maddie Ziegler as Ruthie – about life, relationships and everything.

Cooper’s western may be too meditative for some, but its grit, beauty and honesty are too potent to ignore.