Everything Everywhere All at Once

This feted slice of absurdist indie cinema contains far more 'madness' than Marvel's most recent foray into multiversal storytelling, but isn't necessarily any more intelligent. Penned and directed by the innovative duo known as the Daniels, Everything Everywhere All at Once is undoubtedly one of the most stylistically bold movies of the year. Put simply, it is a smorgasbord of cultural and socio-political references and perhaps one of the most visually arresting films this writer has ever seen.

However, it is essentially an overwrought allegory of patriarchal anguish that doesn't say enough to warrant a runtime in excess of two hours. While it may most obviously bear similarities to sci-fi innovations such as The Matrix, it doesn't quite manage to ascend to the mantel of being a definitive pop culture touchstone.

None of that means, of course, that it isn't a hell of a lot of fun. Because it really is. If you never thought you'd live to see what Jamie Lee Curtis looks like with hot dogs for fingers, think again. That - and a whole host of other weirdness - can be found here. And Michelle Yeoh's performance as a repressed, dimension-hopping matriarch is worth the price of entry alone.

While this didn't quite live up to the lofty expectations I'd set it, it's a deeply impressive and highly immersive piece of filmmaking which is a darn sight more original than most of the other flicks that'll be screening this summer.