John Nugent

Ridiculously charming, immensely funny, and shot with an unusual zestiness, Rye Lane is purely joyful company — and a shot in the arm for future romantic comedies.

An old-fashioned disaster B-movie with a slickly presented sci-fi premise, 65 holds few surprises — but like Adam Driver’s resourceful, humane hero, it gets the job done. More dinosaurs, please, Hollywood!

This documentary feels too stuffed and not insightful enough to be the definitive article — but few skinny-jeans-wearing Millennials will be able to watch without getting nostalgic.

Christopher Landon dials down the blood and dials up the feels for a fun, heartfelt horror-comedy enlivened by David Harbour’s accomplished apparition-acting.

A storming debut from writer-director Saim Sadiq: emotional, tender, and quietly radical. With any luck, it will herald a new era for Pakistani cinema.

Funny, profound, weird, sad, and gorgeously constructed — Marcel is a true original, liable to melt even the most cynical heart. A very special shell indeed.

An instantly forgettable, paint-by-numbers romcom, despite the obvious charm of Witherspoon and Kutcher — worthy of watching neither at your place nor mine.

It isn’t always subtle, but Blue Jean is a gorgeously presented, stirringly performed slice of British queer history that announces director Georgia Oakley and actor Rosy McEwen as major talents to watch.

It hardly breaks the romcom mould, but You People is funny and thoughtful on how race can still divide a relationship. As the in-laws from hell, meanwhile, Eddie Murphy and Julia Louis-Dreyfus are the undeniable highlights.

As that Ronseal title suggests, Plane is rarely on the good side of trash. But at least Gerard Butler and Mike Colter offer some solid action-star appeal.

Mesmerising and mystifying, in equal measure. Enys Men confirms Mark Jenkin as one of the most exciting, original cinematic voices in the UK right now.

It doesn’t quite successfully balance its warring tones, but a winningly grumpy performance from Tom Hanks — and a winningly sunny one from Mariana Treviño — ensures for a very watchable take on the ‘giving life another shot’ subgenre.

It’s hard not to get swept up in some evocative, gorgeously staged filmmaking here. But Empire Of Light often seems a little confused about what it is trying to achieve.

It’s a simple but artfully effective debut feature from Irish filmmaker Colm Bairéad, with a remarkable, heartbreaking debut performance from Clinch, whose face betrays anxieties she doesn’t yet fully understand.

Though somewhat flawed and less artistically daring than it could be, Charlotte still makes for an emotional, humane viewing experience.

An emotional, incredibly intimate portrait of one man’s final days. Ondi Timoner’s documentary avoids the political aspects of the process, focusing squarely on the personal impact. The result is moving, humane, and cathartic.

A sweetly pitched — and appropriately unorthodox — tribute from a movie megastar son to his filmmaking legend father.

Emancipation can’t avoid the well-trodden hallmarks of slavery stories, nor offer a particularly fresh perspective on them. It’s best when it leans into other modes — and when it centres on Will Smith’s outstanding, understated performance.

A strange brew. While the family dynamics and capitalist satire work a little better than the outlandish spectacle, White Noise at least appears to herald an ambitious new phase in Noah Baumbach’s career.

A fizzy, gaudy, joyfully entertaining couple of hours. If there’s any right in the world, Rian Johnson and Daniel Craig will continue making films in the Benoit Blanc Cinematic Universe forever.

Part arthouse-Twilight, part John Hughes-ian coming-of-age romance, part Bonnie And Clyde cannibal remix, part dreamy Wim Wenders-esque road trip. This is gorgeous, gruesome work from Luca Guadagnino.

If you liked Enchanted, this is a dependably familiar serving. In an era where Disney is constantly raiding its archives for intellectual property to remake, this is a sequel that feels unusually original by comparison.

Bardo sees director Alejandro González Iñárritu looking at the man in the (hall of) mirrors; the result is visually sensational but sometimes lethally patience-testing.

Another smash from Cartoon Saloon, at once heartily funny and heartfelt. With this and The Breadwinner, director Nora Twomey is now two-for-two.

Really quite something: a rare remake that only augments and enriches the original. For Bill Nighy, meanwhile, it feels in every sense like the role of a lifetime.

Like any good “Weird Al” song parody, Weird takes the music-biopic template and transforms it into something utterly absurd. The result is a polka-popping, piss-taking joy.

Solid, but understated to a fault. Causeway’s biggest appeal is seeing Jennifer Lawrence and Brian Tyree Henry act up a quiet, powerful storm.

An absurd, iconoclastic riot. Ruben Östlund’s point may be blunt — yep, rich people are bad — but his telling of it is hilariously, breathlessly entertaining.