Helen O'Hara

Its magical denizens too often look and feel like out-of-season pantomime characters, but there’s just enough heart and humour to make this enchanting.

A crime thriller with no interest in thrills and not much in crime, this is an at times frustrating character study of a guy who can’t get out of his own way.

It’s not a hugely innovative biopic, covering just a short period of Bader Ginsburg’s extraordinary career, but this is still a vastly inspiring account of the fight for equality.

As a counterpoint to the (much better) "Spotlight," it’s a fascinating look at modern journalism – but perhaps not always for the reasons its makers intended.

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.

This one coasts by on Hanks' immense appeal and charm, but more focus and a touch more sharpness are needed to make it really come alive.

It’s consistently pretty entertaining, even if it takes a while to get going.

Some fun intergenerational warfare, clever genre nods and a generally sharp script enliven what could have been a bog-standard slasher movie.

This starts strong but doesn’t always have the room to explore all the ideas it crams in, even with a lengthy running time. Still, Rockwell’s man-on-a-mission is a delight.

This is one teen dystopia that sustained its quality across the trilogy. It may not set the world alight — ironically, given the solar flare that started its story’s disaster — but it 
will get the blood pumping.

As with many high-concept horrors, it falls apart as it grasps for an ending, but there's still enough dread, and three great central performances, to just about carry it through.

In this fun action-thriller, David Harbour’s Santa is less Saint Nick and more John Wick.

It’s not the toothless remake we feared, and is often very funny, but there’s a slight imbalance between the Roses that blunts some of its effect.

It’s bleak and understated, but strong performances and a thorny moral maze give this considerable power despite the gloomy skies.

It loses sight of its own heroes amid the hustle and bustle of its wildly entertaining environment, but Zootropolis is still a blast to visit for a couple of hours.

A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal.

It looks gorgeous and offers strong performances from Driver and Ridley in particular, but ultimately the saga ends with neither a bang nor a whimper but something inbetween.

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.

Somehow less than the sum of its very impressive parts. Massy Tadjedin brings out the best of her strong cast but all the eyeball-melting beautyon display and the highly polished treatment of the story could have done with a touch of authentic grit.

It's an impressive performance from Chastain and a fascinating subject, but the film doesn’t delve deep enough into Bakker’s inner life.

Although the quips aren’t always sharp enough and the sleight of hand a little lacking, it takes a hard heart not to cheer as a few young victims of a broken system carve out their own little bit of magic.

It’s a light diversion rather than a symphonic masterpiece, but it’s still pleasantly in-tune entertainment.

It's well performed, and Collet-Serra knows his way around a beautifully timed scare, but what's most haunting is the sense that the same idea has been done better before.

There's a hint of comforting, chocolate-box, Sunday-night TV here, but it's delivered via such quietly powerful performances and with such hope that it's hard to resist.

It’s an intriguing look into a secret world and a great performance from Chastain, but Sorkin’s directorial debut never quite makes the leap from great poker movie to great movie.

The plot is insubstantial in the extreme, but Rae and Nanjiani are so cool, and their loose, free-flowing improv so winning, that you probably won’t care.

These Mark 6 Jaegers with their electric whips, “gravity slings” and plasma swords deliver all the giant robot thrills you could wish. Thanks to Boyega and Spaeny, you might even care about the human characters, too.

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.