Hanna Flint

Unfortunately, it's not beating the allegations that it’s little more than a few episodes of the scrapped season 4 of The Mandalorian rolled into one disappointing movie.

Starve Acre is a rousing addition to the British folk horror tradition with intensely emotional lead performances that takes viewers on a nostalgic journey into pagan ritual.

There are some hilarious new songs (look out for ‘Gotham City Guys’) and the jokes are more meta than ever, with Arnett’s Batman still invariably the funniest figure in the room. But the comedy feels like overcompensation for a story that gets more convoluted as it shifts back and forth between the human and Lego worlds.

Everything is wrapped up a little too neatly by the final act. But with the epidemic of loneliness only growing larger, maybe, every once in a while, a sweet, hopeful ending is exactly what audiences need from cinema. To feel seen. To be reminded that it's going to be okay.

Despite a few narrative gaps that needed filling, Sam Hobkinson delivers a rollercoaster-ride of a documentary with superb characters, insightful talking heads and jaw-dropping plot twists.

It’s an affable biopic about a great but troubled man, with plenty of artistic spirit of its own.

Not all heroes wear capes, some wear swimming caps – and The Swimmers is an empowering reminder that it is a human right to live safely, no matter where you come from.

Sure, Raimi’s latest Marvel entry is a theme-park ride, lighter on character development and heavier on gnarly sh*t that may signal a shift into a darker, more deranged phase of superhero storytelling. But it’s one hell of a ride.

Stillwater’s leap is admirable – it’s just a shame about the landing.

Smart special effects, atmospheric visuals and an impressive physical performance from Williams enhance this timely ghost story but the horror doesn’t hit as hard as the rages against misogyny.

Peaky Blinders: The Immortal Man offers a no-frills wartime backdrop for Cillian Murphy to make a stirring return as Tommy Shelby, with Barry Keoghan standing toe-to-toe with his Irish compadre in a moving match-up. Serving up some dry humor with a few boisterous action set pieces and a thumping contemporary score to boot, director Tom Harper and writer Steven Knight don't color outside the box, which should please fans of the series.

Baltasar Kormákur delivers a compelling survival thriller with both Charlize Theron and Taron Egerton throwing themselves into their adversarial roles. Theron crafts a relatable and grounded performance bolstered with emotional sensitivity and physical prowess, while Taron Egerton proves his worth as a weirdly menacing antagonist. Immersively conceived and nerve-rackingly realized, Apex is a visually-commanding action film bursting with impressively dynamic stunt sequences.

With a blistering score and a darkly comic undercurrent, Tornado is a timeless revenge thriller filled with hurt and heart.

French Exit boasts an assured cast but drab direction and lazy writing ensure the characters are never as eccentric, cutting or interesting as the film’s tinkling score would have you believe.

A woeful interpretation of the Brontë classic, the star power of which dims the truly violent nature of this tragic story of love and vengeance.

It has a few laughs and some stylish outfits, but this is unfortunately a shallow prequel, one which fails to breathe new life into the Hunger Games franchise.

The Conjuring: The Devil Made Me Do It hits some major horror notes, with Wilson and Farmiga providing much needed heart and soul, but the new Satanic worship elements causes the franchise to take a farcical turn.

Ayer and Stallone's script is messily realized and cornily directed – even its violent fight sequences fail to measure up to the impressive feats of action we're so used to seeing Statham serve up.

There’s a hodge-podge of ideas going on that don’t always seamlessly fit, but Wan’s homage to ’80s horror and Wallis’s fretful performance, has a bloody lot of guts.

Shelter ticks all the action boxes for a Jason Statham film, boasting a charismatic supporting cast to ground the conspiratorial stakes with some thrillingly playful fight sequences to boot. But its lackluster script works against the acting calibre of its stars.

Variously throughout the film, close-ups of hands stroking marble, bodies or linking fingers try their best to create a sense of visual intimacy that the script fundamentally lacks. In its absence, all that’s left is a run-of-the-mill queer story with one dimension.

Not as memorable as the ’80s and ’90s high-school romps and creepshows it pays tribute to, there's still lots of gory fun to be had with director Zelda Williams’ feature-length debut thanks to Newton's electric lead and the sparks she throws off opposite Cole Sprouse’s game portrayal of a reanimated corpse.

Despite a starry cast and endearing performance from Joey King, A Family Affair is as messy as the conflicting professional and personal relationships it depicts. A convoluted and superficial script and yawning direction fail to deliver character stakes worth getting behind.

The second part of Zack Snyder's Rebel Moon space opera, The Scargiver, delivers a half-baked conclusion to a well-trodden story with flimsy character studies and lacklustre action.