Helen O'Hara

It's all very, very silly. That, combined with the relentless pace, should ensure that it delights its target audience of under-tens, but the adults shouldn’t fear this dog’s bark too much.

The result is overlong and rarely groundbreaking – there are hints of The Truman Show, Edge of Tomorrow and, visually, Inception – and suffers from some obnoxious filmmaking shorthand in its portrayal of other cultures late on.

If you do pick up a penguin, you could do worse than experience Michell’s kind of spiritual and moral awakening. Still, the film is thankfully sharper and less cute than it initially appears.

It’s not as scary or as effective as the first film, but points for the performances, and for trying hard to do something different and fresh.

Strong performances keep the viewer guessing as much as our heroine, but the character drama recedes as the thriller element builds, to its detriment.

While it’s a woefully incomplete middle chapter, at least it’s never boring.

Lawther’s a charismatic, uncompromising lead, and Billy’s campaign is an inspiring one, but this sometimes settles for broad strokes of heroism or villainy where more subtlety would have increased its impact.

The plot is predictable and the look unmemorable, but Johansson has nevertheless crafted a pleasingly old-fashioned character piece with just enough bite to balance its emotion.

An uneven but essentially likeable story about the joys of setting yourself improbable goals and the tribes you can find as a result, with a strong, committed performance from Bell at its heart.

This is silly and sentimental, but it’s also basically well-meaning and inoffensive. Best watched after quite a few grappas, or with your sprightly grandmother.

There’s a good-hearted father and son tale at the heart of the madness here, but the surroundings are sometimes a little too silly for true greatness.

This spectacular adventure sometimes wanders across the borders of invention into artificiality, but finds its feet when it focuses in on its characters and their relationships.

The film’s glowing, golden cinematography suggests a far warmer story than it in fact delivers, but Winslet’s stunning turn is worth a look if you can stand the consciously stagey feel.

[Ridley Scott's] second film in as many months, after The Last Duel, is uneven, overlong and completely over the top, and has characters and plot turns that Marvel and Pixar would reject as ‘a bit much’. The good news is that it is undeniably a proper drama and, for the most part, wildly entertaining.

Cavill and Hammer are made for each other, but the film can’t always find the pyrotechnics to match their chemistry.

A life story packed with incident means that this sometimes rushes past events that would be formative for anyone else, but equally means that Lamarr’s life story is never, ever dull.

Big, dumb and only mostly fun, this doesn’t always find the right tone to marry action and charm, but Johnson’s remote and ruthless superhero is a welcome change from the norm.

It’s beautifully designed and pleasantly quirky, with fun performances from the cast, yet the arch narrative style and structure can make the whole feel thin and unsatisfying.

Happily, it emerges at last with enough inventive action to stand alongside its murderous predecessors, and makes Ana de Armas into a likeable assassin hero – a phrase that makes more sense in her killer-filled world than our own.

The stories are all individually charming, but overly familiar animation and underwhelming character-design blunt the effect. 

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.

Nearly as good as the last film — the starrier cameos compensating somewhat for the more scattershot plot — this is fun but could have been more deeply felt.

It won't do anything to win over those not already partial to Tarsem's style, but it has more than enough blood, guts and glamour to satisfy – and Cavill looks like a superman.

It rips a few too many pages from familiar playbooks, but when it indulges in its own weirdness this film casts off those heavy caterpillar tracks and soars.

Savage directs with a light hand, and sometimes you wish for a little more shape to the baggier scenes.

The film doesn’t quite trust the magic of the garden, adding visual dazzle and, sometimes, artificiality, but when the film relies on the kids and their relationship it still finds the book’s magic.

Fleischer Camp brings a light touch and a good human cast to this reverently faithful effort, but it’s never as clear and bright as its source material.

With its uncompromising commitment to gross-out injuries, nerdy pop culture in-jokes and inappropriate touching, Deadpool 2 was clearly made to cater to existing fans with every innuendo-filled moment (they should stay through the credits for some important story points that are very nearly thrown away).