Helen O'Hara

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.

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 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.

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.

It’s not all bad: no film with this cast could ever fail entirely. Staunton makes you root for Sandra even at her worst, and Imrie offers an impish, joyous counterbalance to her pursed-lip disapproval.

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.

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.

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.

Fans will be left on a high; other viewers will be confused but generally entertained by a saga whose romance is matched only by its weirdness.

Messier and heavier than Days Of Future Past, this is not so much the next step in the X-Men’s evolution as a failed callback to past glories.

Had this adaptation of the young adult fantasy-romance taken a few more liberties, it might have been a home run.

This old-fashioned tale of folk heroism and hardy underdogs benefits from solid performances and spectacular vistas, but it loses points for a sequel-baiting ending. 

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 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.

It admirably avoids many of the pitfalls of adapting this book, but seems to have lost some of the life and pace as well.

Amiably silly and impressively gory, this lives up to both its low-budget inspirations and its rocker stars.

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.

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

Blood-drenched and gore-splattered, anchored by a hard-as-nails performance by Beetz, this is a thinly plotted but immensely fun horrorfest. Best watched with a strong stomach.

It’s at its best when it’s an old-fashioned song-and-dance princess story, with Zegler and Gadot broad but effective, and at its worst in any scene involving the digital dwarves.

With so-so performances and an immensely dumb conceit, this is snow Christmas classic. Still, it’s less naughty, more ice than we might have expected. 

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.

Credit goes only to its two stars that this is watchable, because the film is a derivative hodge-podge unworthy of their charisma. Just rewatch The Mummy and cut out the middle man.

It’s another spin on the usual Statham actioner, solidly performed but with a ridiculous plot and – even by the standards of the genre – a predictable outcome. Less gimme shelter, more gimme a break.

Beautifully designed and voiced, this has a solid message at its heart. But it’s a well-told tale that’s suffers from being too well-trodden already.

For a long stretch of the second act the film feels like doing a long stretch, but Schwarzenegger’s having a ball as Stallone goes through the motions.

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.