Yes, the movie where a girl falls in love with a Tilt-A-Whirl says more about self-assurance, romantic wilds, and personal comforts than most human-on-human counterparts.

The best film DC has put out in a while, Blue Beetle offers fun, heartfelt action and comedy. Xolo Mariduena shines as Jaime Reyes, while director Angel Manuel Soto succeeds in delivering an ode to Latin American culture in a superhero outfit.

Guardians Of The Galaxy Vol. 2 is the deranged Marvel disco you’d expect from a filmmaker who wants to push the limits of an otherwise rigid and structured system.

The Fabelmans is a compelling family portrait, a love letter to filmmaking, and a revealing look inside the heart of one of America’s great directors. It’s well worth watching, just to see Spielberg at his most tender and personal.

Paterson, led by Adam Driver's skillfully restrained performance, is a brazing social commentary culminating in a harsh, yet beautiful truth.

Deepwater Horizon is effective, efficient and furiously paced.

The doc is a great showcase for the pair’s qualities.

Wilson’s work finds a foothold in cinema in a stunning debut by Malcolm Washington and the moving performances from all the actors.

See this movie, live the fear, embrace the metal, and get sucked into a flaming, invigorating landscape of Hell that will cripple any horror-loving parent.

Trash Fire blazes with pitch-black wit and a dark, volatile story of redemption so good you'll be laughing your way straight to Hell.

This is a boxing drama that scrappily battles for its recognition, determined to win you over at any cost.

The film is sumptuously layered with a number of intersecting themes – the restrictions placed upon us by ourselves, and by society; the complexities of communicating with others; the nature of identity; the contrast of the social roles played by men and women; the vast difference between physical and emotional intimacy; the ebb and flow of the human experience.

Two Lovers and a Bear finds a blend of magic realism, romance and isolation that produces a tremendously moving result.

There’s a brooding tonal growth that Pesce is able to establish, as he unravels a film that becomes more horrific with each passing second.

With Glass Onion, Johnson and Craig have created a sequel that not only earns its keep but promises that subsequent installments in the franchise will deliver both reinvention and all the comfort and intrigue of the classic whodunit that filmmakers come back to time and time again for a reason. It’s pure fun, and it’s clear Johnson reveres the genre enough to cleverly break the rules.

Little Monsters is a must-see horror comedy that proves Lupita Nyong'o should be starring in far more horror movies than she's been offered at this point.

The Beguiled is a deliciously dangerous period thriller that refuses to let a man's privilege go unchecked like the Hollywood standard.

The best ensemble cast of the year live through Steve McQueen’s Widows, an entertaining, intelligent, but altogether familiar rendition of the heist film.

Spider-Man: No Way Home occasionally creaks under the weight of its own ambition, but it's a monumentally entertaining installment of MCU multiversal madness that fans are going to adore.

Jumanji: Welcome To The Jungle is both a fulfilling reinvention and adventurous video game quest that’s far funnier, and unexpectedly exciting, than you could hope for from an evolved reboot with explosive fantasy character.

The Collection is one of those horror films that really makes you sound like a deranged psychopath for recommending, but demands to be spread like a mind-controlling plague.

Despite uneven pacing and inconsistent acting, The Hunger Games: The Ballad of Songbirds & Snakes is a triumphant prequel and the most impressive depiction of Panem representative of a director firing on all cylinders.

As a blockbuster, The Fall Guy flies. As an ode to stuntmen, it soars. But as a movie that simply loves being a movie, it towers quite magnificently above most.

Kong: Skull Island is a grand cinematic adventure powered by furry fury, as the horrors of war blend with chest-beating creature confidence.

Wrath of Man is a slick action thriller from writer director Guy Ritchie, where retribution is only half the story.

Black Panther proves how representation can rejuvenate even the oldest superhero origin arcs, allowing Marvel a victory that still feels every bit a Ryan Coogler film.

A Ghost Story leads you down a path that allows for personal reflection, which will either sooth lost souls or scare them away.

Put simply, Old distils the human life cycle down into one unique cinematic experience. One that will cause arguments, promote debates and lead to further discussions. Something which confirms M. Night Shyamalan remains a force to be reckoned with.

I Don't Feel At Home In This World Anymore is a winning combination of anger, frustration and stinging social satire.

Spider is a heavy watch, and is guaranteed to haunt you long after you leave the theater.

Anyone who's ever wondered how Michael Shannon would fare as a smoldering romantic lead or how Imogen Poots might handle the role of a femme fatale has their answer in Matthew Ross' engaging psycho-thriller.

Triangle of Sadness is a dark delight that has plenty to say on the state of the world we live in.

Spider-Man: Across the Spider-Verse travels worlds to upend its own status quo, spinning a truly unique and sometimes devastating narrative that finally matches its visual ambitions.

Dramatically satisfying with a plethora of engaging twists, 'Carry-On' sticks a firm landing with maximum turbulence.

What Backcountry did for campfire creature attacks Killing Ground does for murderous bushmen in the same setting.

As Surrogate delves into murder mystery territory, the films palpable dread wanes. Yet, so strong is Willing’s handle of his material and Morassi’s compelling lead performance, that the after-effects are sure to haunt you long after the credits roll.

Yorgos Lanthimos' Kinds of Kindness is a unique, thought-provoking anthology exploring human kindness's dark side. With stellar performances, the film's surreal and unsettling narrative will captivate long-term fans but will alienate some viewers.

Ben Affleck anchors this surprisingly complex drama with a career best performance, which sees director George Clooney turn his attention to the importance of friendships in life.

Heretic is a genuinely unsettling psychological horror, but it suffers from having one too many red herrings.

This slow burn family drama from writer director Ben Cleary, takes its time tackling some delicate questions. That Swan Song also holds up as a diverting piece of mainstream entertainment, only underlines the importance of Apple and its original content.

The Disaster artist is obscurest hilarity set to a filmmaker's struggle, all linked to James Franco's transformative performance as the mythical Tommy Wiseau.

Decision to Leave is a finely crafted film, with stellar performances from Park Hae-il (charming, and perfect as a detective torn between emotions and duty) and Tang Wei (also perfectly cast, lovely with a depth that’s just below the surface).

Anchored by a mighty Blake Lively, It Ends with Us brings Colleen Hoover's story to smartly cinematic and tremendously touching life.

In many ways, Alice feels like a film looking to inform as well as entertain, by exploring the evolution of Black identity with unflinching honesty.

Gerard Butler's latest effort reveals a dramatic depth beneath the action man veneer. Brooding, bold and effortlessly engaging, Greenland breaks the mould.

The Ice Road further cements Liam Neeson’s reputation as the only action star in the 60-70 age bracket worth his salt.

Driven by Stanfield’s performance, an intelligent story, and an even more impressive structure, this film is as funny as it is bizarre, and as bizarre as it is clever. It succeeds enough early on that Riley trusts he’ll hold everyone’s attention as he jumps off the deep end.

Debuts shouldn’t be this tense or composed, yet Super Dark Times is an instantaneous must-see.

Pompo the Cinephile makes for a comedic romp through America's film industry in this wonderfully animated feature from studio CLAP and Takayuki Hirao.

While Hidden Figures hits many of the beats one would expect, Melfi’s film strikes a delicate balance of injecting levity within the character-based historical drama that propels the story forward.

Anchored by a music industry veteran in the form of Machine Gun Kelly, Taurus is defined by rock star cliche, yet transcends those narrow perimeters to deliver a poignant piece of drama refreshingly free of pretension.

Back from the dead, the new chapter of the Scream series brings us back to the story we initially fell in love with, while creating a dynamic where Ghostface can strike again to continue his bloody carnage.

Pet Sematary is proficiently tense, dashingly macabre and soaked in nightmarish tones that thrive on audience screams.

The Northman is wild, startling, fascinating, and phenomenal at once, but hopefully it’s just the beginning of Eggers regularly being handed sizeable budgets to deliver more sprawling near-masterpieces.

With only a slightly underwhelming plot among its infractions, Teenage Mutant Ninja Turtles: Mutant Mayhem flies high on some gorgeously evocative presentation and an untouchably charming take on the eponymous reptiles.

This is a movie about life. Bigger than love. Bigger than hope. Bigger than anything. Just life, and all its attempts to wear you down – and how you’ll never let it.

Here plays not only by its own rules, but a whole other cinematic ballgame, and those who take the time to learn its language will be immaculately rewarded.

A Dark Song digs its claws in and never lets go, finding horror in rituals, personal reflection and burning black-magic sensations. It’s dreadfully inviting from start to finish, with an almighty climax at just the right time.

Despite its occasional oversteps and misfires, The Childhood of a Leader is a fascinating film, as moving and irresistible as it is terrifying.

The Clapper is a sharp combination of sweet romance and biting satire on the cruelties committed in the name of entertainment.

The Last Wish is better than it has any right to be. From charming animation that combines digital and analog sensibilities and takes cues from fairytale books to performances that are pitch-perfect, it works! It would be a mistake to write it off as a late-in-the-game sequel or nostalgia cash-grab when it’s clear there’s true craftsmanship behind the work.

Birds of Prey proves that it's no longer a man's world, it's Harley Quinn's - and we should be so lucky.

Overall, Nude Tuesday is a creative leap that mostly lands. The absurdist comedy can be hit or miss, but the ingenuity of the storytelling, respectful treatment of all kinds of bodies, and talent of the actors on screen make it gel together.

In an audacious departure which marks a new level of maturity, Edgar Wright invites audiences to strap in and enjoy his latest cinematic offering.

Spike Lee offers no solution here – his story’s conclusion, in the long run, hardly ends on a positive note – but rather a very, very loud plea that cannot be ignored.

Though it's no easy task to connect and absorb everything it throws at you, Inside is a captivating thematic feast anchored by the ever-masterful Willem Dafoe.

Shazam! proves that the DCEU has a sense of humor, can execute on it and *deliver* an electric punch of uber-fun comic book action, too. Heart, humor and heroics – can I get a hell yeah?

The Suicide Squad is James Gunn at his most unhinged, unrestrained and unleashed, but the result is one of the best DC movies in years.

Yes it's "Alien but underwater," and that's a good thing given how a top-notch Kristen Stewart leads us on a terrifying dive into the deepest reaches of aquatic horror.

Wonder Woman is a gorgeous, powerful display of epic storytelling that makes me wish this was Gadot’s first chance to play Diana Prince. It’s the roaring introduction she deserves, and a hopeful shift in DC culture that hints at what’s about to come.

The Old Guard has everything you could want from a Netflix actioner. Combat situations get your adrenaline pumping, and it’s rather quick to the draw. Gina Prince-Bythewood establishes a world worth investment thanks to characters who develop farther than just another team of renegade badasses.

Propulsive, beautiful and tense as hell, Tower is superior documentary filmmaking.

Taron Egerton and Toby Jones make Tetris one of the most intriguing video game movies for some time. Slick, savvy, and with no shortage of dry wit - audiences should lap this up.

The Batman is a thrilling, ambitious, and exhilarating reboot for the comic book icon. It might not be the Dark Knight's best-ever movie, but it comes mighty close.

The Levelling is a wonderful first feature from Hope Dickson Leach. Morose beyond measure, but leavened with subtle hope via Ellie Kendrick's superb central performance.

Writer and director Quinn Shephard's Not Okay takes thing near to the knuckle, but the biting jet-black comedy never loses sight of its intentions, deftly balancing humor and bile with heart and hard-hitting themes.

Dune might not be for everyone; but if you strap in, immerse yourself in the world and go along for the ride, Denis Villenueve delivers a blockbuster sci-fi epic that's regularly jaw-dropping.

Fair Play is a taut two-hander featuring Phoebe Dynevor and Alden Ehrenreich on scenery-chewing form, and benefits from an understated Eddie Marsan as trading supremo Campbell.

For 130 minutes, the writer-director disorients and delights, confidently trailblazing through his murder mystery two, maybe even three steps ahead of the audience. This isn’t a simple, direct testament to the slick, sidesplitting script, nor the fully committed, second-to-none ensemble, but rather a passed inspection of these cogs and their ability to form a purely entertaining experience.

Under The Shadow marries haunted horrors with period-piece importance for a deliciously dark ghost story.

While the final result is a film that’s a bit rougher around the edges than it needed to be, Kingdom quite confidently seals the deal through the animus of Noa; a fantastic protagonist brought to life by the young Owen Teague, whose strikingly intelligent motion-capture performance suggests a wisdom for the craft far beyond his years.

Any hint of sappiness in the neighborhood is squashed by Hanks’ paralyzingly delightful turn as Mister Rogers in A Beautiful Day In The Neighborhood.

The Unknown Country proves to be a road trip unlike any other.

Get Out marries racial satire with a terrifying finale, one that tears down blinders that some may have kept conveniently in place. Don’t listen to those who say horror movies are defined by physical scares. Plots based on real-life fears typically make for the most horrifying scenarios.

As another era of James Bond is brought to close and speculation builds about the future of this franchise, this reinvention feels perfectly timed.

Eurovision Song Contest: The Story Of Fire Saga is bursting with wit, warmth and laughs, and is well worth a watch on Netflix.

Dolemite Is My Name belongs to Murphy.

This searing social satire on identity in contemporary culture features a career-best turn from Karen Gillian on powerhouse form.

Brooding, powerful, and every inch the Americana melodrama - Devil’s Peak packs a punch and just keeps on coming.

With great warmth, empathy, and delightful use of drawings and digital video clips, Inbetween Girl creates a coming-of-age story that anyone can relate to but with a refreshing perspective.

As movie star Sophie Wilder, Monica Barbaro is effortlessly charming, while Diego Boneta imbues assistant hotel manager Alejandro with equal amounts of charisma. 10 times better than audiences will expect, At Midnight is worth a watch.

Surrounded by a solid ensemble of cast iron characters actors, The Wonder tries to address some serious issues beneath the guise of a beguiling period piece. What audiences are ultimately left with equates to a moral fable with female empowerment holding things together.

Jordan’s clear vision for Creed III is hindered by a couple of melodramatic crutches that are typical of the genre, and constant, incredibly distracting and tacky product placements throughout. Small faults in what is otherwise a self-assured, confident, and refreshingly vulnerable sports epic. The actor and filmmaker is dead serious about his craft, and it’s great to watch.

Impassioned, engaging and eloquently constructed, City of Lies has much more to offer than first meets the eye.

A well-acted, slow burning indie, The Fixer uses thriller mechanisms to examine insular, tribal cultures through the eyes of an outsider.

Boston Strangler has more to say than some might think by promoting a forthright, focused, and professionally progressive approach in those central performances. Roles which are only made to look easy by Knightley and Coon, purely because they embody them so effortlessly.

The measured performances make Southside With You feel sincere and rooted in human emotion rather than a wink-winky account of an important day in American history.

Sarah Paulson and Mark Duplass shine in Blue Jay, a charming nostalgia trip tackling heady themes in a manner that is both lovingly awkward and brutally real.