Alex Godfrey

There was potential here, but Frozen Empire is an overpopulated mish-mash, with too many heroes to wrangle. What’s left is a bit of a gooey mess. We’ve been slimed.

Golda lives in the shadow of the film it wants to be, but Mirren’s warm performance and the claustrophobia of it all make it linger regardless.

If you’re not up for a film that’s nearly three hours of wall-to-wall fighting, this chapter might get on your wick. That fighting, though, is a bone-crunching, butt-clenching masterclass.

Quantumania isn’t as wacky as it should be, and the humongous stakes feel oddly small. But where else do you get a wild Jonathan Majors, an intense Michelle Pfeiffer and talking broccoli?

Strawberry Mansion is hugely ambitious, even more so because it doesn’t quite have the resources to realise its own dreams. Nonetheless, it’s a soulful, adorable and unique little trip.

Though not without charm, and some splendid CGI, this scattershot grab-bag of good intentions results in a bit of an emotional flatline. This puppet will not tug on your heartstrings.

Resurrections suffers from an identity crisis, going from being supremely fun and knowing to weirdly pedestrian. It’s a slippery mish-mash— entertaining in big bursts but ultimately a little hollow.

It’s hard to take House Of Gucci seriously, because it never seems to take itself seriously. Yet with such glee being had by those involved, it’s an infectious, bizarro bit of fun.

While not quite offering the emotional gut-punch it promises, its many ideas never completely cohering, Soul is nevertheless a gorgeous and tender existential trip. It’s full of surprises.

With The King Of Staten Island, Apatow goes for the heart — but with lesser yuks than usual and a subdued lead, it all kind of drifts by. Within it, though, are moments of real vigour and fragility.

There’s righteous fury here, and while Winterbottom and Coogan’s sincerity isn’t in doubt, it feels like they’re coasting a bit. There are laughs, but no surprises and not much heart. They have no love for this guy, but as a result, we’re left with something a little one-dimensional.

Sweet and sincere.

This is an enchanting little story, to a point – it’s thin stuff, but while it never fully gets the emotions jangling, there’s charm to spare and the action is dynamic and occasionally thrilling.

The potentially interesting material is suffocated by a B-movie story and a C-grade script.

This is intentionally jagged but nevertheless frustrating, a little too self-satisfied for its own good. Yet there are some great moments and, when it relaxes a bit, it has charm to spare.

It’s well-intentioned and pretty, but not much else. Occasional stylistic flourish aside, it offers nothing we haven’t seen before, buckling under the weight of its own conservatism.

Its refusal to dress itself up is admirable, but overall we're talking about a slow trudge through the sludge.

An often effective reboot, this does everything you’d expect, but that’s a real shame.

Hold The Dark is rather unwell. Both intimate and epic, it is appropriately cold, resisting warmth at every turn, more a philosophical adventure than an emotional one.

A small, slight window into a mixed-up soul, this is more intriguing than engaging. Its restraint, though, is admirable, resulting in a mood-piece with an ongoing sense of unease.