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With Better Call Saul about to come to an end, Odenkirk switches gears with admirable ease, anchoring one of the most purely enjoyable action movies in ages. It’s not quite a case of Nobody does it better, but it’ll do until somebody does.

A lean and mean throwback of a thriller bolstered by excellent performances and first-class filmmaking. Occasionally bites off more than its CG budget can chew, but when director Taylor Sheridan keeps the action grounded, it’s sweaty palms central.

Time will tell if it’s worthy of being talked about in the same breath as Easy A, Clueless, Booksmart and the like, but Amy Poehler’s teen comedy is smart, funny, likeable and winningly performed. Moxie by name, moxie by nature.

Butler’s best star vehicle in years, what could have been a bombastic bunch of boulders is, instead, a refreshingly clear-eyed and compelling affair. One of the best disaster movies in years.

Cronenberg by name, Cronenberg by nature. Possessor sees Brandon wading into territory often explored by his father, but there’s more than enough originality here, visually and thematically, to prevent this from being a mere cover version.

One of the best British horror debuts in years, populated by well-drawn characters and a particularly nasty spirit. If you get a chance to move into His House, take it.

Not so much bad Bad Boys, more good Bad Boys. And not so-bad-it’s-good Bad Boys either. Instead, this is comfortably the best entry in the series to date. Which isn’t bad.

A very pleasurable surprise, with likeable leads, the right amount of gore, and some incredible near-the-knuckle gags that you can’t quite believe writer-director Forsythe even attempts, let alone gets away with. Far better than the 1989 Fred Savage-Howie Mandel movie of the same name.

A stunning sophomore effort from Jordan Peele.

A pitch-black, often very funny slice of pulp fiction with a number of stand-out performances, notably the ferocious Theron.

Stylish, soaked in gore, and unconventional, it’s another winner from Miike. Here’s to the next hundred. At his current rate, that should be in 2025.

As Diana, Gadot is excellent, a rocking electric cello riff in human form.

Even when the pixels threaten to overwhelm, Gunn finds refuge in his main characters. There’s plenty to enjoy here.

Overcoming a shaky start, this low-budget rom-dram rewards patience, with a fine cast delivering strong work. Accept the invitation.

A brutal, bruising bullet ballet of a sequel that builds upon the promise of the original.

Although it’s like being assaulted by a jumping jukebox for two hours, Garth Jennings’ first animated movie has enough bounce and brio to carry the day. Immensely likeable.

The premise sounds like an off-Broadway play gone wrong. Far from it — this is extraordinary, vital, and fuelled by great performances.

An efficient and no-nonsense depiction of the worst disaster in US oil drilling history, buoyed by excellent performances.

A return to fun, and a return to form for the new version of the old Trek. The 13th Trek movie is also the second good odd-numbered instalment in a row. Lucky for some.

A fast-paced, entertaining, if somewhat on-the-nose mélange of thriller, satire, and drama, this is Jodie Foster’s best movie as a director. And we’d happily watch any TV show George Clooney wants to host.

A hugely assured debut, The Witch is a beautiful, bleak brainworm that will haunt you for days.

This modern riff on Monster Squad is a very pleasant surprise, and so ’80s in spirit that it’s a shock one of the villains isn’t a giant Rubik’s Cube.

The best Rocky film since the original, honouring the Stallone legacy while setting it in a different direction. Feel the need. The need for Creed.

There are first-time filmmaker flaws — at times, the characters feel like pawns in a pre-ordained plot — but Bettany has a real gift for finding grace in the grimness.

Compelling and powerfully acted, with just enough wrinkles to avoid the ghosts of gangster movies past. Depp's appearance might distract some, but it's good to see him back in the groove.

Goldstein is enormously endearing, while Drever milks the mundanity for laughs and unexpected sweetness.

Jurassic World is fresh and thrilling, and while it often tips its hat to the original, it’s not a slavish copy, introducing more than enough new wrinkles into the prehistoric playbook to launch a new wave of sequels.

It’s not a perfect film by any means, but it’s incredibly powerful and often moving, anchored by an awards-worthy performance from Oyelowo.

Perhaps the riskiest mainstream movie in years, Vaughn’s love letter to spy movies may be uneven in places, but it’s ultra-violent, envelope-pushing, and fun enough to overcome the flaws.

Marmaladen with gloriously silly jokes, pitch-perfect performances and incidental detail, this is a warm, witty and wondrously inventive great big bear-hug of a movie.

The Fannytastic Four leave us on a poo-flecked, piss-soaked, sun-burned high that more than overcomes its familiar flaws to become a real contender for the year’s funniest film.

Charming and uplifting.

A triumph of pure cinema and wonderful visual storytelling from Chandor, who must now be considered the real deal, while Redford is sublime in what could well be the performance of his career.

For a movie that has dark in its title, and which is — yes! — darker (people die, Asgard is grimier, as befitting Alan Taylor’s Game Of Thrones heritage), Thor 2.0 is consistently amusing.

A welcome return to live-action filmmaking for Zemeckis, who hasn't lost his knack for a brilliant shot or for extracting great performances. It may not exactly be a first-class experience throughout, but there's nothing wrong with premium economy.

While it may blunder down the odd comedy cul-de-sac, Madagascar 3 is often inspired and very, very funny.

Turn off the snark-o-meter, and this is a return to form for Marvel, introducing a new hero we'll be happy to see again in, oh, about a year or so.

Broader and more accessible than either "Shaun Of The Dead" or "Hot Fuzz," Paul is pure Pegg and Frost - clever, cheeky and very, very funny. You'll never look at E. T. in the same way again.

It's been twelve years since "Titanic," but the King of the World has returned with a flawed but fantastic tour de force that, taken on its merits as a film, especially in two dimensions, warrants four stars. However, if you can wrap a pair of 3D glasses round your peepers, this becomes a transcendent, full-on five-star experience that's the closest we'll ever come to setting foot on a strange new world. Just don't leave it so long next time, eh, Jim?

Blomkamp’s prawn cocktail has more than enough stylistic chutzpah and originality to make District 9 an essential date.

Regardless of how silly you think it all is, this will have you scared witless by the time the end credits roll; low budget horror hog heaven.

With the visuals and soundtrack given a wax and polish job for the big screen, Scott's masterful use of shadows, framing and sound has never been more terrifying. No matter how many times you've seen this, you'll still be hiding behind your fingers at every conceivable juncture.

Guaranteed to offend, but also guaranteed to leave you in spasms of laughter.

Rudimentary plot and merely decent gags aside, this is the finest DreamWorks Animation effort since the first Shrek, chiefly because of its astonishing visuals and kinetic kung fu sequences.

With a confidence typical of its director, the last line of Inglourious Basterds is, "This might just be my masterpiece." While that may not be true, this is an often dazzling movie that sees QT back on exhilarating form.

Essential, enormous fun.

Extremely enjoyable. Although it’s a little tonally unsure, whenever Hanks and Hoffman are on screen, any misgivings are forgiven.

The comedy is never indulged at the expense of the plot, which flies off in genuinely unexpected directions, culminating in a boundlessly inventive funfair chase sequence.

A ridiculously entertaining, perfectly paced, ultra-violent cinematic rush that kicks the places other movies struggle to reach.

You can beat the house and you can break the bank, but sequels always get long odds on defeating the law of diminishing returns – yet Ocean's Thirteen just about pulls it off.

Thrilling and often hilarious, it’s good to see one of Hollywood’s most inventive directors fully reinvigorated. On this form, Spider-Man 4 should be a belter.

Manages to gain classic comic book feature status through a combination of great stunts and a great human angle.