Helen O'Hara

An awkward mix of gross-out comedy and big emotional sincerity, which may be authentic to the experience of pregnancy but feels clumsily balanced between these two characters.

It’s well-intentioned and manages some nicely judged messaging by the end, but Harold’s mugging and his animal companions’ antics aren’t nearly as cute as the film thinks they are.

It’s not the fault of either star, but the half-baked script makes this an unsatisfyingly thin exploration of the weighty themes it seeks to cover. More intellectual cut-and-thrust and fewer flashbacks would have helped.

It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.

It’s long and sometimes gets swept astray by currents of family drama and period detail, but Ridley’s plucky determination and can-do energy carries the whole thing along. The result is an old-fashioned inspirational pleasure.

Lopez throws everything at this, but even major movie-star charisma can’t make up for the recycled story elements, tired exposition and endless psycho-babble. Maybe the machines can take over and do better.

It's less action-heavy than the last trilogy and inevitably more ape-centric, but this is a promisingly chewy start for the latest series of simian thrillers. These apes are still strong.

The performances are solid and the story is touching — and perhaps that will carry this to its chosen audience. But it's a little flat for true drama.

Tense and occasionally disturbing, but somehow you’re left with the nagging suspicion that what should have been a meaty psychological drama has been turned into a slightly insipid thriller instead.

With a cast this talented there will always be decent moments, but they never cohere. Credit for its casting and design, but it’s not the movie messiah, just a very disappointing mess.

A beautiful, subdued Daisy Ridley performance anchors a story that is underplayed to the point of almost non-existence. Still, if you’re tired of blockbuster bombast, this could be the antidote.

Eva Green’s full range of skills have rarely been so thoroughly showcased.

A smart, original approach makes this much more than just another Exorcist wannabe. You’ll sense that there are horrors coming, but you still won’t quite feel ready.

This sequel brings everything back to the original film – even recycling some of the same jokes. But they’re a pale echo of its greatness in an overly stuffed and only occasionally fun spectral adventure.

Who needs humans? This is visual storytelling at its finest, a traditional animation of gentle, unshowy genius. Sometimes the very best love stories go deeper than words can say.

The two gifted comedic actresses give their characters depth while also finding moments of lightness that stop the drama from ever bringing the pace down too much. It makes for a wickedly funny spin on the safe old British period drama.

It’s unexceptionally filmed and occasionally clunky, but this is a gently heart-warming underdog story, and Turner shows real star-power in the lead role.

The set-up is not as elegant as that of the first film, so this feels more forced and the humour more familiar. Still, the performances are winning and the setting appropriately seasonal, so it might do for the holidays.

It might not have the overwhelming impact of an Endgame or even a Guardians 3, but this is the MCU back on fast, funny form.

Creepy rather than scary, and more a ghost story than a monster movie, this has a good heart but feels a little toothless for something with so many killer robots.

It’s annoying and one-note and so relentless in its cheeriness that it eventually comes to seem almost likeable. At least there are great voice performances underneath all the felt and pop mash-ups.

A nuanced and intelligent legal drama that neatly combines big characters and big ideas. By focusing on wider issues of race and injustice, Betts finds continuing resonance in a case nearly 30 years old.

The blood and gore is all present and correct, but the focus on Kramer's vulnerability and human side sits at odds with his awful judgmentalism. Let monsters be monsters.

Rather than a simple story of underdogs vs The Man, director Craig Gillespie (I, Tonya) has made a complicated, sometimes funny story that is not a comedy, and sometimes feels like a horror.

A sportsman biopic that concentrates more on the man than the sport, this offers food for thought for those who can stand the languorous pace.

It may be too tame for horror fans, but the gothic twist works remarkably well — even if everything else is business as usual for the Belgian detective.

As action-packed as a holiday nap on a hot afternoon, this is a must-see only for Portakalos die-hards. Still, Vardalos’ sheer affection for the characters means it has a warmth that sustains it through weak jokes.

It is entirely predictable from moment to moment and frequently laughable in its portrayal of international relations and politics, but it’s also funnier than it needed to be, and, thanks chiefly to Zakhar Perez, often charming.