Dan Jolin

Patchy and in need of a rigorous edit, but amid all the weeds there is some ripe comedy (satire, even) for the plucking.

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.

Intelligent and uncompromising, with knock-out performances from Downey Jr. and Foxx .

An engaging melodrama whose less convincing plot points are superseded by some astonishingly affecting performances from the mostly unknown cast.

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.

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.

The scares and monsters are effectively conjured, but if you’re not familiar with Austin Schwartz’s source material, you may be left a little cold.

A lightweight, tinselly film with some nice touches and appealing performances, though it never lands its darker moments.

Marvel's most deranged and energetic movie yet, as much of a winning comeback for director Sam Raimi as it is a mega-budget exercise in universal stakes-raising.

Yes, he is at times hard to watch. But Fraser makes The Whale a deeply empathic and touching experience.

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.

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.

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 action is enthralling even if the storyline doesn't always have the ring of truth about it.

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

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.

Geoffrey Rush and Judy Davis, predictably impressive in the roles of abusive, alcoholic dad and troubled-but-tough mum.

A sorta-sequel to Mrs Brown deals effectively with another of Queen Victoria’s unconventional friendships and reprises Judi Dench’s powerful and unparalleled portrayal.

This is Sweeney’s film. Christy is a career-best turn, sure to draw favourable comparisons with Hilary Swank (who, funnily enough, gets a namecheck in one scene, as Million Dollar Baby was released during the movie’s timespan). She may not be a problematic dude, but she’s certainly Michôd’s most impressive lead performer yet.

The Hobbit plays younger and lighter than Fellowship and its follow-ups, but does right by the faithful and has a strength in Martin Freeman's Bilbo that may yet see this trilogy measure up to the last one. There is treasure here.

Another summer threequel, another case of slipping standards – not so much in the visuals, which remain predictably impressive, but in the all-important gag rate. To waste both Donkey and Puss is a crime…

With Ember's hydro-electro-punk charms, Kenan's convinced us he's one of Hollywood's most exciting (and excited!) visualists. But on the evidence of this, his storytelling skills still need honing.

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.

A lesser entry in the LeCarré Cinematic Universe, though Damian Lewis and Stellan Skarsgård rescue it from complete blandness.

A solid, straightforward biopic about a fascinating individual and his destructive relationships, with strong performances and a healthy sense of naffness.

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.

A strong visual style tussles with flaccid storytelling in this ambitious retelling of Grimm. It won't exactly have Walt Disney spinning in his secret ice chamber, but you may wish they spent more time worrying about what exactly the film is than who it's for.

Like a good butcher’s cleaver, it’s weighty, solid and sharp — an effective matching of director and star in what is hopefully the first of a new film series.