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.