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An anti-Bond, the closest Cooke’s movie comes to an action sequence is when someone breaks into a mild run. But there’s real drama, and even thrills, to be found in this story of a very unlikely friendship that changed the course of history.

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.

The votes are in, and it’s official: this largely unfunny paean to Eurovision is a waste of some serious talent. At least some of the songs are decent.

Powered by the charisma and physicality of its star, this often gruelling action flick does more than enough to suggest that Hemsworth has found his genre, once he hangs up a certain hammer.

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.

Working off source material that is very different from its predecessor, anyone expecting a straightforward Shining sequel will be disappointed. This isn’t a gruelling exercise in pure horror. It’s odder and more contemplative, but worth checking in.

It’s often enjoyable, occasionally very funny, and has an energy and verve sorely lacking from Fleischer’s last few films. So, while it’s simply, plainly, not as good as the first movie, Zombieland is no longer the odd one out on Fleischer’s CV.

Making a killer-doll movie out of decent component parts should have been child’s play, but this misses the mark.

A decent, if inessential, take on one of Stephen King’s best novels. Sometimes original is better.

A stunning sophomore effort from Jordan Peele.

So insubstantial it may not actually exist, The Mule is very much the latest in a long line of minor Clints. But it might help pass the time on long journeys. Just make sure you don’t watch and drive.

A better-than-expected entry in the all-too-often neglected sub sub-genre, with Butler showing impressive restraint.

Shark. Weak.

This hard-edged action thriller may not match the original, but Washington’s McCall is a compelling character, the kind you’d quite happily like to hang out with whether he’s busting heads or painting walls.

An energetic but erratic film that straddles about a dozen genres at once, none of them that successfully. One for those who like oodles of odd.

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

Almost certainly the second worst thing to happen to Bruce Lee, this toothless and tame movie doesn’t even come close to capturing the great man’s dangerous charisma.

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.

Yes, Geostorm is bad, but it’s not a stinker for the ages.

Toy Story with a twist, this is better than it had any right to be. Hardcore horror buffs may laugh and scoff at the mechanics of some of the scares; the rest may never be able to walk past the window of a toy shop without crossing themselves.

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.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

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

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

A little too derivative to truly stand out, but gorehounds will love it. Don’t a void.

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.

An unfortunate misfire that has the odd moment of charm and the odder chuckle, but otherwise isn’t worth keeping up with.

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

While it's neither as dark, funny nor peculiar as you’d expect from Tim Burton, there’s still much here to admire.

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

Often gripping, and elevated by Cranston’s superb central performance. But it’s hard not to feel like we’ve seen this before, often and done better.

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.

Not so much a ripping yarn, more of a dripping yarn, Yates’ reinterpretation of the Lord Of The Jungle is a big disappointment.

It’s an impressively starry cast, but sadly, this lacks the charm, wit and, yes, magic of the original. You’ll like it, not a lot.

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.

Hiddleston and Olsen impress, and the music remains golden, but this is just another by-the-numbers biopic.

Wonderful to look at, this is a more adult, more complex affair than its animated, and more entertaining, forebear. Still, it’s Disney’s best live-action adaptation yet.

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.

Destined to be a big drinking game — take a sip when Broadbent bites his sandwich — but little else, this feels like a major missed opportunity.

With Neeson on fine form and an encouraging start, it’s a shame that this gritty crime drama feels the need to erupt into a full-blown action movie by the end.

Blomkamp’s third movie has just about enough spectacle and quirk to overcome some fairly major flaws, not least of which is an unappealing central trio.

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.

There’s nothing wrong, of course, with sci-fi films asking Big Questions, but the delivery doesn’t have to be — should never be, in fact — this tedious.

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.

Overlong and often overcooked, this is nevertheless a relative return to form for Diesel as the fiendish Furyan.

An improvement on the last outing for Jackman’s not-so-merry mutant. If only it trusted enough in its unique setting to forgo a descent into aggressively awful formula.

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.

Fun in parts, and Stallone's always watchable, but it's an '80s tribute movie that coasts along on rapidly diminishing goodwill. Beige Heat, if you will.

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

Not nearly as terrible as burped-out Sandler disasters of recent years, there's enough funny stuff here to remind us of his talent. Still, it's not for everyone.

There was much to dread about this new iteration of Dredd, but it's a solid, occasionally excellent take on the character, with Urban's chin particularly impressive.

Witless, charmless, teen twaddle. Let's take all prints off the film, and bury them. Don't bother marking the spot with an X.

An improvement on Transformers 2, but then what isn't? To paraphrase the Bard, it's a tale, full of sound and fury and extremely stupid dialogue and nonsensical plotting and preposterous stunts and robots punching each other's heads off, signifying nothing.

Broader than Bad Santa and less consistently funny, it's still gleefully rude, crude and often a lot of fun.

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.

A shambling, ponderous mess that aims to be a trashy cult classic and merely ends up in the trash - Fichtner aside. And, in the biggest disappointment of all, there's not even that much angry driving in it.

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.

It's nothing more than an enjoyable, ridiculously macho B-movie romp, but it's derson' best movie since the underrated Event Horizon. Perhaps, at long last, he' starting to find his - yep - top gear.

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

An early but strong contender for worst movie of 2008.

A surprisingly rose-tinted look at a subculture that really should have been stamped out some time ago.

It's no Anchorman, but it's several steps in the right direction.

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.

Technically competent, but essentially a fantasy movie that mistakes industrial light for magic. As dragon movies go, Dragonslayer, Reign Of Fire and even Dragonheart can rest easy.

Essential, enormous fun.

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

Utterly implausible and clunkily directed. Rent "Fargo" instead.

Often beautiful but wildly inconsistent, Australia is none more Baz Luhrmann, which perhaps says it all. Worth a look on the big screen, though.

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.

Genuinely sweet and endearing Murphy film, at last.

An admirably unsentimental biopic with an excellent central performance, but it doesn't impact as strongly as it could.

Proof that when you aim for the stars, sometimes you find a black hole. Hopefully just an anomaly for the usually wonderful Gervais.

The chief horror here is the cliffhanger promising a third instalment.

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