Dan Jolin

This fourth Toy Story isn’t as essential as the previous films in the series, but there’s no denying the joy of seeing Woody and friends back in action, while once again it’ll likely leave you with a tear in your eye.

Another lavish and largely entertaining Disney re-do, with strong turns from Massoud and Scott. But, appropriately for someone playing a huge, powerful entity trapped in a tiny ornament, Smith’s genie performance feels disappointingly constrained — both by overdependence on the original and some ghastly CGI.

Beats is a truly heartfelt rites-of-passage tale — an immersive, intoxicating portrayal of the rave scene at its peak.

An impressive sift through one of the UK’s weirdest pop-cult phenomena, even if it doesn’t manage to unpick the strange relationship between Sievey and Sidebottom.

A sometimes clunkily executed true-life story which at least has potency in its blend of subject matter and lead actor. Despite often being hard to watch, this is Rosamund Pike’s best work yet.

Best enjoyed for the fun, slick action and the astonishing, super-expressive realisation of Alita herself, because elsewhere it’s cyberpunk business as usual, marred by some sloppy plotting.

A grim, dour dive into one LA cop’s unravelling, which centres on a truly transformative performance from Nicole Kidman.

A based-on-fact family drama whose truths may hit too hard for some, but are worth suffering if only to witness Timothée Chalamet’s performance.

A sharp-witted and wide-reaching account of a bright political hope’s fall from grace, with an impressive ensemble cast and a great performance from Jackman.

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.

Like Guy Ritchie’s King Arthur, this tries hard to do something new and exciting with an old formula. It quickly makes you wish for something more traditional and straightforward.

It’s as predictable as an Advent calendar, but thanks to Kurt Russell’s grizzly charms, The Christmas Chronicles at least gives us one of the movies’ best Santas yet.

The Coens take another crazy concept and make it work with a series of stories that will amuse, shock, and even bring tears to your eyes.

An uneven but appropriately rousing attack on Trump, which occasionally loses its focus as it makes its bigger, scarier points about the United States’ slide into despotism.

A muddled Wicker Man-inspired horror that has bursts of style, but fails to find depth beneath its blood-spewing surface.

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.

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.

It might look like a quirky take on the sports movie, but Puzzle is in fact an astutely crafted character drama, featuring a superb central performance from Kelly Macdonald.

A coming-of-age story which thoughtfully and heartfully tackles the repellent practice of conversion therapy. Moretz is excellent, but this summer camp/institution drama cocktail could have done with a little more fizz.

Who Framed Roger Rabbit meets Meets The Feebles, in a disappointing adult comedy that never lives up to the promise of its premise.

Ultimately, it’s [Okada's] attention to the emotional content, honed over years of writing romantic youth dramas (both animated and live action), that makes ‘Maquia’ so compelling. It’s a coming-of-age story, of sorts, even if the main character can’t age.

McQuarrie also builds on the last film’s self-aware level of wit and, most importantly, its set-piece-crafting sophistication. No action sequence is allowed to peter out, or be chopped to ribbons in the edit, or lean on the crutch of CG augmentation.

The building may be taller than The Towering Inferno and the stakes may be higher than those faced by John McClane in Die Hard, but in comparison to both, Skyscraper is little more than a cinematic bungalow.

A disappointingly straightforward, romance-driven take on a fascinating story of creation, but one that’s lifted by a superb central performance by Elle Fanning.

While it proves an all-round well-mounted distraction, Ant-Man And The Wasp undeniably lacks the scale and ambition of recent Marvel entries.

A raw horror masterpiece from a first-time director that deserves to be mentioned in the same frantic breath as the genre’s greats. Even the most jaded viewer should find something in Hereditary to disturb and distress them.

A bright and breezy sideshow adventure makes up for its overly frantic pacing with a charismatic central turn from Alden Ehrenreich — strong enough to make us want to see even more of him in Solo mode.