All-in-all, there have been ten stand-alone Spider-Man movies since 2002. They’ve all been pretty good, but Across the Spider-Verse is the most ambitious, most beautiful, and most satisfying one yet.

Despite Ward and Colman’s impressive performances, and some beautiful Roger Deakins cinematography, Empire of Light is unfortunately weighed down by a messy screenplay that can’t untangle itself before the credits.

Maybe skip the popcorn for this one, but make sure you climb aboard for one of the best films of the year.

Don’t expect a barrel of laughs or a feckin’ good time, but McDonagh’s latest is a powerful dark comedy that’ll have you thinking about your own mental state long after you leave the cinema.

A grim look at international relations through the lens of a hostile Nicaragua, Claire Denis’ latest ‘romantic thriller’ Stars at Noon is unfortunately lacking in both romance and thrills.

Like any great whodunnit, See How They Run is about the investigation rather than the reveal. And with two loveable investigators, a bunch of effortless jokes, and some engaging visual storytelling, it makes for a killer night at the theatre.

While Decision to Leave might not be Park Chan-wook’s best, it is still an original mystery by a world-class artist at the top of his game.

Much like Jordan Peele’s first two instalments, Get Out and Us, his new flying-saucer-mystery Nope is anything but predictable.

Outside of some stunning cinematography and promising themes, The Forgiven feels too inconsequential to be engaging. Hampered by universally unlikable characters and simple moral messaging, the story unfortunately fails the fantastic cast.

Simplistic, formulaic, and crowd-pleasing, The Kitchen Brigade plays it safe with emotional beats you’ve seen before, but its wholesome characterisation is guaranteed to melt your heart.

More intimate, sensual and depressing than a whimsical period drama, Mothering Sunday is a breath of fresh air in a typically repetitive genre.