Chris Hewitt (1)

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.