With the release of Steven Spielberg's much anticipated latest film Disclosure Day, here are eleven of the most iconic moments from a career that shows no signs of having peaked.

Jack Ryan: Ghost War is a very faithful follow-up “Film” to the Amazon Prime series. Of which I mean it's a generic spy thriller that is absolutely nothing you haven't seen done better hundreds of times.

A film that remembers why the franchise belonged in cinemas in the first place and makes a genuine and largely successful case for its continued presence there.

A moving, sweet and genuinely charming piece of work that deserved considerably better than being quietly deposited on Netflix with minimal fanfare.

Ahead of the release of the latest instalment in the Star Wars universe, we attended the UK fan event for The Mandalorian and Grogu. The event showcased 20 minutes of exclusive footage along with a Q&A with Pedro Pascal, Jon Favreau, Sigourney Weaver, Kathleen Kennedy and Grogu himself.

Malcolm in the Middle: Life's Still Unfair is far better than it had any real right to be and a genuine benchmark for how these revivals should be approached.

Fuze is a disposable, but watchable heist-thriller that starts strong and fizzles out by the end. A fine and acceptable British thriller, just not one that stands out or leaves a lasting impression.

Mike & Nick & Nick & Alice is a high-concept action-comedy-sci-fi-romance that juggles all its genres for a blast of a surprisingly coherent and fresh take on the “One Crazy Night” sub-genre.

A scathing hit-piece on a disgusting online culture fuelled by outrage, vapidness and a desperate grab for wealth and fame over any morals as Theroux allows these people to freely talk and dig themselves into deeper contradictory holes.

Peaky Blinders: The Immortal Man is a stylish, silly and camp send-off for Thomas Shelby that still has Murphy putting in great work with a fun supporting cast. But while it's a conclusive ending, it rarely feels more than an extended episode of the show than it does a real film.

a confident, colourful original with big ideas, inventive imagery and enough warmth to stick the landing. After a few years of “fine,” this felt like a genuine step back in the right direction.

The Bluff is a competently made pirate action-thriller that lands as you would expect for a better streaming original but there is very little here to make it stand out as anything more than a fun, and instantly forgotten watch.

Good Luck, Have Fun, Don't Die is a fantastic return for Gore Verbinski. Packed with fun ideas, enjoyable characters and an original take on the time travel formula with a venomously anti-AI approach that's refreshingly blunt and satirical in all the best ways.

Cold Storage is derivative, tonally confused, visually cheap and missing the practical-effects creativity that could have made it a fun viral horror-comedy.

Wasteman is a brutally grounded, intense and often uncomfortable British prison drama that lands with constant unease.

The Testament of Ann Lee is a spellbinding, exhausting, and singular experience anchored by a career-best performance from Amanda Seyfried, and one of the most visually and musically distinctive films of the year.

The Voice of Hind Rajab is a harrowing, deeply upsetting experience, and one of the most unforgettable films of the year. It’s not an easy watch, nor should it be.

Crime 101 is highly derivative of many classic crime-thrillers (especially Michael Mann’s work), but the vintage vibe, slow-pacing and character-focused approach makes for a better than expected heist-thriller.

Looney Tunes: The Day the Earth Blew Up is a very easy film to like. It’s funny, visually delightful with its vibrant 2D animation, and made with a clear affection for these characters and their legacy.

Greenland 2: Migration is the definition of a diminishing-returns sequel. It doesn’t disgrace the original, but it also doesn’t justify its own existence beyond being another sturdy Gerard Butler vehicle to be dumped in January.