Helen O'Hara

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.

Moving and insightful. Not a classic by any means, but a fascinating glimpse of the way we live today.

It’s far from a complete biography, but it makes at least some effort to engage with the messier aspects of Lee’s life. Ultimately, however, this is a celebration of Lee and the cheerleading he did for comics, and that is surprisingly moving.

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.

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.

Hargrave, a stuntman turned director, knows where to put his camera for maximum impact, and genuinely disturbing foley work showcases sounds of crunching bones and splattering blood. You feel every punch land.

An animation that never drags itself out of mediocrity despite the best efforts of gifted animator Tartakovsky.

It’s a well-made adventure with great energy and considerable style, but it’s essentially a maze without an exit.

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.

These bosses cannot justify either murder or lasting comic memories, fatally compromising a farce that could have been great but ends up merely mediocre.

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

This is just as unevenly plotted as the original, lacks even the element of surprise, and is not by any reasonable standard “good”. Between gooey and ghoulish, there must be better options.

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

It benefits from a supernaturally engaging cast, but this treads too closely to the rom-com model to feel as smart or moving as Westfeldt's previous best.

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.

A glowing tribute to The Beatles and their music, this is both a toe-tapping pleasure to watch and a smart, occasionally scathing look at how we get things wrong.

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

This is an Aquaman film that needs lots more Aquaman and vastly less bombast. It’s visually wild and recklessly inventive, but the cast deserve better than to be cast adrift in a tempest of CGI.

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

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

The great circle of life has thrown up a gorgeous, star-studded story, but trading feeling for realism means that we lose something of the original film’s excellence.

A strong directorial debut from Winslet with — as you’d expect — stellar performances from her cast. It might be the perfect antidote to other, overly saccharine Christmas films.

Even the slightest wisp of critical thought will bring the house-of-cards plot tumbling down, but avoid thinking too much and it’s a frothy, sun-drenched bit of fun.

Kormákur creates some effective jump scares and considerable suspense as the lion stalks its prey with blood-chilling growls one minute and deadly silence the next. The CGI budget can’t always quite match his ambition, however, and perhaps as a result, his timing sometimes seems off.

A fun blend of scares and sentiment, this largely justifies a lengthy run time with effective frights and a valedictory feel. Just don’t watch it before trying to clear out the attic.

The whole thing reads as an indictment of the sort of upper class upbringing that Milne's children's books idealised, with only paid employees offering worthwhile parental affection.

McKellen has fun as the bitter, biting Erskine, but the plot takes so long to come together that at times he’s the only thing holding the audience’s interest.

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.