Dan Jolin

Domestic chills, body horror, paranormal scares and gore-drenched action combine in a very distinct but rather uneven — and at times contentious — take on a classic monster icon.

With its edgy style intact, The Immortal Man never takes its eye off the Peaky faithful. But keeping the fans happy is a double-edged sword, as it can’t help but just feel like an extra-long episode rather than a standalone cinematic experience.

Despite Fischbach’s arguably admirable intent and exertion, this low-budget sci-fi horror makes Event Horizon look like 2001: A Space Odyssey.

Despite grasping for topicality and insight into human nature, Tron: Ares doesn’t have anything new or interesting to say.

Despite an occasional burst of self-mocking glibness (mostly via Robbie, who skirts but never quite tilts into the manic-dream-pixie playground), this is a movie that isn’t afraid of sincerity, and it brings a bit of silver-lining energy to our overcast world.

Karate Kid: Legends doesn’t quite live up to the promise of its Cobra Kai-meets-Mr Han marketing. But for breezy feel-goodness, you’ve come to the right dojo.

Aka ‘The Odyssey: The Bits Without The Monsters’. Not that that should put you off, as Binoche and Fiennes bring some raw, fleshy humanity to this mythic text, giving it a modern twist that balances the film’s flaws.

A hyperactive hot-pink mess of a movie, which fails to elevate its cubic source material and revels in that failure like it’s achieving something.

The spirit of the drive-in is strong in this trashy mash-up, though it’s best appreciated as an unlikely romance, where love and poetry somehow blossom amid heavy gunfire and monster rampages.

The film is let down by an approach that goes for impact over insight, but Last Breath is a worthy entry to the ‘hostile environment’ documentary subgenre.

Barry Jenkins’ verve only faintly shines through in an origin story that is mildly, not wildly, entertaining.

Valiant though this low-budget attempt to reclaim Hellboy may be, it sadly lacks the storytelling and stylistic savvy to rise above its all-too-obvious budgetary limitations.

An initially cool premise that goes nowhere interesting as it heads off somewhere else too quickly. Hartnett does his best, but director Shyamalan seems more interested in trying to convince us of his daughter’s pop-star credentials.

A botched Guardians wannabe that isn’t half as fun as you’d hope from the punky sci-fi promise of its video-game source material and the presence of Blanchett at the top of the cast list.

It is engagingly played by a cast including Sienna Miller, Sam Worthington and Luke Wilson, and handsomely mounted too, with Costner’s vision of the West’s untamed grandeur fully deserving the big-screen treatment.

A Western that hits many of the expected beats but which does so in an unexpected manner, being centred on a tender, loving relationship rather than gunplay and grit.

It also benefits from some engaging supporting characters.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Despite its thorough classiness and pristine presentation, it is not a film you can really warm to – much like its characters.

Blue Beetle owes a lot to the sheer wit and warmth of its supporting cast, which will earn it far more approval than its so-so CG antics and origin-story familiarity.

Lacks the ‘ick’ factor of the earlier Bay-directed efforts, and Fishback and Ramos do a great job as the token humans, but this is still just silly and derivative.

Cinema’s least-subtle and most-escalated series hits its sky-high-concept plateau. It's a film that somehow finds new and fabulously silly things to do with cars, while — Momoa’s questionable villain aside — being exactly what you’d expect.

The film’s conclusion sadly carries the taint of silly schmaltz (‘What kind of magic is this!?’ one character actually says), but like all those non-Disney takes that came before it, this Pan deserves some credit for trying something different.

While it never quite swims beyond the shallows of its money-minded plot, this fictionalised account of the licensing battle over hit puzzle game Tetris is, for the most part, absorbing and exuberant.

A handsome murder mystery with a neat literary twist and an impressive turn from Harry Melling, but which is overcast by the gloominess of its protagonist and the implausibility of its revelations.

Bearing a passing resemblance to both Man Bites Dog and Chopper, it’s hardly original, but still a laudable example of proficient guerilla moviemaking.

The narrative is unadventurously straightforward, and anyone looking for any neat twists or wrinkles will be disappointed; the spectral nature of Finney’s allies could have made for a neat final-act reveal. But the performances are uniformly strong, with McGraw stealing scenes and Hawke exercising his dark side so effectively that, after this and Moon Knight, he’ll leave you in no doubt of his flair for villainy.

An improvement on Murder On The Orient Express, with the increased focus on Branagh’s Poirot (even with its strange moustache obsession) welcome enough to distract from the problems with some of its ensemble and its too-obvious reliance on VFX.