Helen O'Hara

Given it could be re-titled ‘Microaggressions: The Movie’, this is an unsurprisingly upsetting watch at times, but it’s made compelling by Vega’s dignified, heartfelt performance.

Robbie and Janney are flawless in a compelling and corrective account of a misunderstood figure; one of the more darkly funny biopics you’ll ever see.

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.

Pixar has raised the animation bar again, with its most musical — and arguably most magical — film yet. If this is the afterlife we’re all headed to, don’t fear the reaper.

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.

A tired retread of better jokes in the first two movies, this drags along to an admittedly heartwarming conclusion. But it’s a good thing this caps the trilogy because it’s coasting on fumes.

It’s by no means good, but there are moments of effective emotion and comedy that make up for some of the dumber jokes, and sheer charisma largely carries it along.

Vibrant and brimming with vitality, this is empathic towards its subjects but fiercely critical of the system that victimises them. The performances of Vinaite, Dafoe and Prince will stay with you.

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.

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.

Frenetic, kinetic action meets satisfyingly soapy drama. See it before everyone tries to copy the best bits.

Loud, silly and tired. Aside from an almost-fun Jackie Chan cameo, this is enough to give anyone a severe nut allergy.

It's loud, at times unwatchably gross and sometimes lingers on the verge of hysteria. But it's also a warm-hearted and optimistic celebration of black womanhood. Maybe friendship can save us all.

Elba is genuinely great as the tormented Roland, but the film does its best to suffocate him under a mountain of plot-heavy nonsense. Disappointing.

It’s cool and brutal, but with such impressive action credentials you almost wish there were fewer plot devices to distract you as Charlize gets up and at ’em.

While it's tempting to sum up in thumbs down emoji, when they go low, we go high. So let's just say, abandon all hope, ye who enter here.

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

It’s just a waste. The premise is ripe for absurdity and the talented supporting cast have interesting quirks that might have livened things up if Shepard ever gave them the chance. Instead, aside from a few surprisingly gory moments, this makes the original show look good.

Objectively ridiculous but mostly fun, this is better than you could have predicted given the title but squarely aimed at a young and undiscerning audience.

Quiet, thoughtful and deeply human, this is one of Jarmusch’s finest and features Adam Driver’s best performance yet — although you do risk coming out with a new affection for modernist poetry.

It glides romantically along on the surface while political turmoil boils away underneath. Its plea for tolerance isn’t subtle, but it’s a story that deserves to be told.

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.

It’s a little too long, but holds the attention thanks to Lane’s charisma, Ryan’s breathtaking cinematography and the dizzying power of young love.

Wheatley continues an unbroken run of quality, helped by a great cast and a startlingly effective premise. This is seriously cool, stuffed with great dialogue and riddled with bullets.

It’s not the worst of the trilogy, but this is less for fans of thrillers and more for people who are pining after last year’s holiday to Florence.

The best zombie-ish apocalypse in years. Sennia Nanua is a major discovery, but it’s the dense social commentary and moral dilemmas that will haunt you.

It’s well designed and shot, but in service of a story that never coalesces into something intelligent or compelling.

A fiercely original, pleasantly unpredictable character piece. This is a gang of outsiders with something valuable to say about the world we live in.