Helen O'Hara

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

A sugar-fuelled thrill, this boasts a fine young cast and pleasantly pantomime adult roles. It may be too long for younger kids, but tweens are going to love it.

A quiet and meditative portrait of the artist as a retiree, this lacks incident or high stakes but has an elegiac feeling of regret and reckoning that fits its subject’s twilight years.

Maybe art does demand something profound of us all, but here the big, interesting ideas have been chipped away in favour of subpar scares, leaving this film’s own cult appeal looking rather limited.

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.

The storytelling is a little loose, but as a workplace comedy with a side-line in romance, this earns its laughs thanks to the immensely game Henson and a stellar supporting cast.

An improvement on the first film, in the end, and an encouraging rallying cry against fear and intolerance, but it’s still far too busy and baroque to match its leading lady’s elegance.

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.

An informative but incomplete look at Whitney Houston’s life and death, this will frustrate fans as much as it fascinates them.

As sweet as a sugar plum and only slightly more nutritious, this shows scars from a tumultuous road to the screen but still emerges as a whimsical, likeable fairy tale.

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.

Another ‘live-action’ remake that’s darker and less compelling than the animated original, but it’s saved by Bailey’s charming performance, McCarthy’s sass and the story’s own eternal magic.

Big, bold and teeming with imagination, it is so busy world-building that it occasionally forgets to have fun. But with this heavy lifting done, there’s every reason to hope for an even more magical adventure next time.

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.

The film’s final moments mix compassion and vengeance to create something genuinely surprising, and if Cronin ultimately pulls a few punches in his body count, chances are you’ll be too traumatised by all the gore to notice.

It’s clearly made with real love and care, but shows far too much deference to its progenitor. Even in a remake, we need more originality and less playing the hits.

Smart, tough and a little bit cool, this is an intriguing opening rather than a slam-dunk in its own right, but the cast - and especially Woodley - make it sufficiently diverting to merit a place in the action franchise ranks.

The bones of the story have been played a million times, but a talented and committed cast make this swoonsome rather than samey.

Smart, funny and really quite hot, this is worth a look no matter what you think of "Charlie's Angels."

The drama and tone are powerful and effective and Lawrence makes an exceptionally charismatic heroine, but an almost total lack of action means this is less catching fire than treading water.

The people of Downton Abbey have never been relatable, but they’re really pushing it this time.

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.

This lacks the sting in the tail of something like the similarly post-War The Others, but it offers a soupy atmosphere of low-level dread and paints a devastating portrait of a vanishing age.

It’s no masterpiece, but this is a promising debut from Boone and a good showcase for his entire cast.

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.

Franchise fans will enjoy seeing the Lamberts again, but newcomers will be baffled by the under-developed story and nonplussed by the over-familiar scares.

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.

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.