Dan Jolin

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.

Very dated farcical comedy but Peter Sellers is charming despite the anachronistic character-humour.

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.

There are moments of comedy grandeur, but this isn't as consistently funny as you'd hope. Nevertheless, Downey Jr.'s Kirk Lazarus is instantly up there with the comedy greats.

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.

Exactly what you’d expect from a crime-caper action-comedy pairing Dwayne Johnson and Ryan Reynolds. Nothing more, nothing less.

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.

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.

Lively remains impressive throughout, but with plot-driven fare like this, such lapses are a let-down.

A Mex-set spaghetti Western featuring toilet humour, organ transplants and the closest Mel Gibson’s come to playing Martin Riggs since the last Lethal Weapon.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

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.

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.

One of Streep's finest-ever performances. But beyond that - whatever Morgan and Lloyd's intentions - it's little more than a myth-enshrining exercise.

For all the gags flying around, and all the friendly insults batted between Blanchett and Black, the script lacks the sparkle and polish of many of the classic Amblins it so enthusiastically emulates.

Think Donnie Brasco, with the IRA instead of the Mafia. Jim Sturgess dominates with a star-making turn, although some stylistic slip-ups let him down a little.

A decent but unremarkable film with a big, unforgettable central performance. Carey Mulligan passes with First-Class Honours.

There is a frustrating absence of personality which means, for all her physical presence, this Major’s just not very engaging. It’s more a problem with the film than Johansson herself. A case, if you will, of it being so preoccupied with the shell, it forgot to bring enough ghost.

A patchy follow-up to the searing ’71 from director Yann Demange, but one which tells a compelling true story and offers a treat of a supporting turn from Matthew McConaughey.

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.

It’s not the kind of historical drama you might expect from Ridley Scott, but that’s not necessarily a bad thing. And if its threefold perspective tests the patience, it at least gives the right character the final word.

Uneven, occasionally unsavoury and at times frustratingly muddled, but there’s enough bloody, ’80s-style fun in The Predator to give it a pass from long-term fans.

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.

A gritty, brutal chase movie that's more about swords (and spears, and axes) than sandals - although it could have done with a lot more character-meat on those bones.

A stylish portrayal of a literal power struggle based on truly interesting historical figures and events. But it tries to take in too much in too little time, when all it needed was to centre on Edison and Westinghouse.

Singer's absence is felt but not fatal. By adding too much new blood Ratner loses some of the original DNA, but with its nifty set-pieces and a few nasty surprises, X3's still a worthy enough sequel to ensure it’s no Last Stand.

All you'd expect from an X-Men film (or spin-off, or prequel), but not all you'd hope for. It smacks of rush and compromise, but there's thankfully enough to make you feel optimistic about the series' future once more.