Ian Freer

Mothering Sunday just falls short of a great movie; a radical attempt to shake up period-picture staidness, shot through with strong performances, impeccable craft and a strain of sadness, but it’s never enough to tug vigorously at the heartstrings.

Not as strong as the original, Rams is perhaps best described as a feature-length version of one of Sam Neill’s social media shorts; funny, a little bit rambling, winning.

Triple Frontier is engaging in parts with well-mounted action. But the characters lack definition and you can’t help but think an old timer like Howard Hawks or Sam Fuller might have done it better in half the time.

Despite an imposing performance by Renée Zellweger, Judy never exposes the dark heart of Garland’s last years, creating an enjoyable backstage drama movie while failing to get under its protagonist’s skin.

Lost Transmissions is a clear-eyed view of schizophrenia, aided by a powerful Simon Pegg performance yet hamstrung by some woolly filmmaking and a whiff of pretension.

A genuine oddity, Welcome To Marwen may not hit the emotional highs but mixes high-concept fun with a sincere attempt to describe trauma in an original visceral way. And Zemeckis’ filmmaking remains exemplary.

Zoo is the antithesis of edgy, an overlong, all encompassing experience that despite Crowe's integrity and lightness of touch doesn't deliver the emotional experience of, say, "Jerry Maguire" or "Almost Famous." Still, it is good to have the righteous dude back.

Centred by a committed, affecting performance by Noomi Rapace, Lamb gets over its longueurs and missteps with interesting ideas, filmmaking craft and a unique tone of voice. Also includes some of the best animal acting of the year.

Strongly performed by a fresh-faced cast, A Paris Education is familiar and doesn’t completely grip, but is an enjoyable celebration all the good things in life; films, arguing about films, friendship, love, politics and Paris.

It leans too heavily into ham-fisted cliché but Jack Huston’s debut gets by on a striking look and a clutch of strong performances led by an excellent Michael C. Pitt.

An engaging, if familiar, mix of teen rites of passage, the fun of friendship and mooning over a cool girl. Still, Nat Wolff and Cara Delevingne make for a watchable duo.

The Amazing Johnathan Documentary starts as a blast but as the journey progresses, becomes ever more slippery: Is Szeles tricking Berman? Is Berman bamboozling us? The answer is entertaining and frustrating in equal measures.

The Dig is well played, especially by the leads, and visually gorgeous, but it lacks fire and ironically doesn’t get under the surface of its story.

More interestingly, it paints the Bolshoi as a microcosm of Russia, in thrall to tradition but beset by greed, backstabbing and corruption.

It's no Paddington 2, but Peter Rabbit 2 works well thanks to a mocking sense of self and a strong second half. Once again, Beatrix Potter, it is not.

Like many sequels, Truth To Power is bigger but messier than its predecessor. While it doesn’t quite deliver the oomph of the original, it is still a timely, persuasive wake-up call.

It doesn’t do anything different from the original, but the upside to The Upside is two strong, winning performances that keep you going down a well worn path.

Two parts raw and real, one part manipulative, Coda finds engaging characters and real emotions in a hackneyed narrative arc. See it, though, for a terrific turn from Emilia Jones, if for no other reason than to say you were there at the beginning.

What The Tender Bar lacks in dramatic heft and originality, it makes up for in warmth, geniality and a clutch of great performances — chiefly Ben Affleck, who turns a stock uncle character into a memorable mentor.

A mid-way twist seems like it’s going to up the ante but the film ultimately drops the ball in the final act, where there is a lot of huff and puff (Fire! Demons! Body horror!) but little in the way of a satisfying conclusion. Ironically, Never Let Go becomes less interesting the more untethered it gets.

Better in conception than execution, Spies In Disguise never really gets the best out of its James Bond Is A Pigeon high concept. The result is entertaining while it lasts, but won’t lodge itself permanently in your memory bank.

Held back by a more conservative aesthetic and emotional approach, One Life comes nowhere near the power and veracity of Steven Spielberg’s film. But it does have an ace in the hole in Anthony Hopkins, whose performance delivers a subtle but profound gut-punch.

Moving beyond the confines of the app’s premises, The Angry Birds Movie 2 starts slow but flourishes into breezy, colourful fun.

Togo is in a slightly more sombre register than Call Of The Wild but delivers similar sturdy pleasures; exciting dog-in-peril action and striking landscapes, all anchored by Dafoe’s grounded performance.

After an unsatisfying start as a comedy, Silent Night finds its feet as an ambitious, thoughtful chamber piece about what it means to peer into the abyss. Merry Christmas, everyone!

Jeremy Hersh’s debut is naturalistic and well played. If it initially lacks momentum and oomph, the film becomes a multi-faceted look at issues surrounding surrogacy, anchored by Jasmine Batchelor’s central performance as a woman forced to make a life-changing decision.

Stillwater mashes up quest-for-justice, father-daughter dramatics, fortysomething romance and mid-life introspection for a refreshingly adult drama. It doesn’t coalesce completely, but Damon and Cottin keep it engaging.

It says little that is new and lacks heat, but Wilson and Burke inhabit a compelling mismatched couple, with Wootliff finding cinematic ways to get under their skin. A flawed but admirable attempt to take the temperature of a dark, modern relationship.

Liam Gallagher: As It Was lacks the narrative shape and drama of previous Oasis doc Supersonic, but provides an interesting snapshot of an artist in transition, both professionally and personally.

Official Secrets is a timely, ambitious if broad take on a complex subject, but remains engaging and entertaining. anchored by Keira Knightley on great form.

What The Phantom Of The Open lacks in ambition or dramatic oomph, it makes up for in easy-going appeal. Anchored by an impish Mark Rylance, it takes its cue from the story’s hero: a bit ramshackle, very amiable, always watchable.

Isn’t It Romantic had us at hello but loses its spell when it has to develop its plot. Not as smart or sharp as you’d hope, it still delivers a lot of fun for those who can’t resist a bad Katherine Heigl flick.

Eastwood is in good, if not great form, Bridges steals the whole show, and Cimino displays a sense of unpretentious fun and appealing grasp of character.

Although sometimes it gets bogged down in the details of drilling, The Hummingbird Project extracts enough entertainment value from an unpromising premise, greatly helped by Jesse Eisenberg finding the humanity in his hustler.

Joe Wright brings fun and imagination to an oft-told tale, even if the story beats offer few surprises. Still worth seeing for a compelling Peter Dinklage turn.

What it lacks in freshness and depth, The Gentlemen certainly makes up for in cartoon-y bluster and fun details.

An upgrade from Prometheus, Alien: Covenant amps up the thrills but doesn't deliver a memorable crew member or the full-on onslaught of the series at its height.

Dear Evan Hansen gives enjoyable, tuneful voice to important modern-day concerns but lacks the dramatic and cinematic chops to really take flight.

22 July takes a helicopter view of a terrifying, unthinkable tragedy, perhaps flying too high to capture all the nuance, complexities and emotion. Still it has great stretches and a terrific performance by Anders Danielsen Lie.

Well played and well shot, Run’s idea of relocating Springsteen’s America to a rain-swept Scottish fishing town is interesting, but sadly it runs out of gas and road before it hits the horizon. Less baby we were born to run, more baby we were born to drive around in circles for a bit.

In the Insta age, this paean to body positivity and living your own truth is more than welcome, but you just wish UglyDolls’ message could be more charmingly argued, adroitly assembled and just plain funny.

Slightly better than its predecessors, Sonic The Hedgehog 3 works hard to entertain — it has the odd bright moment — but overall lacks surprise, freshness or anything to set the heart racing. It’s a Saturday-morning cartoon writ long.

It has its pleasures but after the nuance and emotional hits of Love Is Strange and Little Men, Frankie is a disappointment. Not even la Reine, Isabelle Huppert, can elevate this one.

The astonishing true life story of The 33 deserves a better movie than this. Trite above and below ground, it is not suitable for miners. Or anyone else really.

Neil Marshall’s return to his homegrown horror wheelhouse doesn’t reach the heights of Dog Soldiers and The Descent. Instead, it’s a witch-hunt thriller that lacks the texture to be realistic and the no-holds-barred energy to be pulpy. Sean Pertwee has fun though.

In a month of "A Monster Calls" and "Manchester By The Sea," Collateral Beauty serves up a hollow portrait of grief. Despite its quality cast and slick visuals, the result is sombre and saccharine rather than uplifting.

Mark Felt is a lacklustre staging of a fascinating episode in recent US history. Despite Neeson’s strong presence, this is a deep throat that never finds its voice.

Despite the all-star trio and the rare joke that lands, Going In Style never hits its stride as a warm-hearted crime caper.

Let Him Go starts languid and builds to a tonally at-odds finale, with its stars looking curiously unengaged. This is what happens when slow burning never really catches fire. Still, Lesley Manville is on fire as a memorable backwoods-y crime boss.

A strong cast and impressive action sequences can’t find subtleties or surprises to enliven a rote period disaster movie. It hits the right points, but mechanically.

23 Walks is romance of the gentlest kind. Steadman and Johns are likeable but the writing doesn’t deliver characters that compel and convince. But for dog lovers, it’s pooch porn.

Not even Halle Berry’s presence can enliven this stale sports film-family drama mash-up. By the end of it, the barrage of clichés leaves you black and blue.

Despite good moments and an ambition to reach for the profound, Life Itself settles for trite, sentimental and patience testing. A killer cast deserve better.

It’s tastefully shot and Crowe commits to the horrors of Jake’s illness (his seizures are upsetting) but the writing lacks depth, the character psychology is dime-store Freud and the performances are variable.

Despite the odd fun bit of bloodshed, Halloween Kills is mostly tired, tedious and an insult to everything John Carpenter got right first time round.

A slight improvement on Expendables 3, Expend4bles still works better as character posters than a movie you have to actually sit through. To paraphrase the tag line, old blood meets new blood equals tired blood.

As a last hurrah for a once great action icon, Rambo: Last Blood is a damp squib. Put your headbands at half mast and remember him from his glory days.

Wrong Turn has some decent booby-trap business but can’t find enough that is different to enliven the weary concept. But for the horror hardcore, keep watching once the credits roll.

Rodriguez has fun coming up with some new-ish powers and there are knowing send-ups of superhero lore, but the takeaway is thin and forgettable.

A feminist horror flick that lacks nuance in its feminism and thrills in its horror. But it should be applauded for reinterpreting rather than just retreading the original.

Lacking anything approaching originality, The Hitman’s Wife’s Bodyguard is a generic, by-the-numbers action-comedy sequel. Praise be for Hayek, who at least gives it gusto.

Suburbicon is a strange beast: a by-the-numbers ’40s film noir bolted to an unsatisfying ’60s racial drama wrapped up in a ’50s Americana satire. A strong cast and talented director never make the whole add up.

Tom & Jerry: The Movie joins Garfield , Yogi Bear and The Smurfs as misfiring attempts to combine popular ’toons with live action. Our kids deserve better. They deserve Tom & Jerry 1940-’58.

Featuring strong work from LaBeouf, Man Down is a fascinating example of how a powerful performance and good intentions can be derailed by a misguided concept and flawed execution.

A Street Cat Named Bob has its heart in the right place but doesn’t quite land on a tone to unite hard hitting drama and a cat-based comedy.

Amsterdam suffers from a surfeit of story detail without the vigour to whizz you through it. It has likable leads and the craft is on point, but the result, given all the talent involved, is a tonally uneasy disappointment — a romp that fails to romp.

On paper, Don’t Let Go’s premise — a supernaturally flecked crime story with a hint of time travel — should be exciting but it is let down down by workaday writing and routine filmmaking.

Take out the BDSM, and Fifty Shades Freed would play perfectly as afternoon thriller on Channel 5. An end to a damp squib of a trilogy which sees Johnson as the only one to emerge unscathed.

Clint Eastwood’s bold choice to have real protagonists does little to enliven a listless story about friendship. Although the terrorist attack is effectively staged, The 15:17 To Paris fails to spin a remarkable film out of a remarkable act of heroism.

Precious Cargo is a film out of time. In the ’90s it would have been a serviceable DTV alternative when the Van Damme/Jeff Wincott flick was out at Blockbuster. These days it is a lacklustre anachronism. Bruce Willis should really know better.

It has all the required Police Academy staples and is one of the better sequels but this whole franchise is so dated that isn't saying much.

Venom is neither triumph nor train-wreck. It’s a mediocre origin story, a superhero host that sadly fails to bond with its comedy parasite. Which is a shame, as there is enough here to to suggest it could have been a blast.

Wasting big-name actors, The Mauritanian is simultaneously over-stuffed and under-powered, turning a horrifying real-life ordeal into something flat and formulaic. Only Tahar Rahim’s consummate portrayal of grace under duress stands out.

Midway is a big, bold, brazen attempt to detail one of World War II’s most significant moments. But in a post Saving Private Ryan-Dunkirk landscape, it feels astonishing anyone is still making war movies like this.

Eddie Murphy’s Dr. Dolittle generated four sequels. On this showing, Downey Jr’s will be a standalone, an uncynical but mostly lacklustre kids’ flick that doesn’t find its voice, animal or otherwise.

Astronaut doesn’t have the budget or cinematic ambition to deliver on its premise. Despite the best efforts of Richard Dreyfuss, it reaches for the stars and misses by a mile.

Parts of Outcome work a treat (see: Martin Scorsese). Shame, then, that long stretches give in to blunt parody, leaving the feeling there’s a much better movie in here somewhere.

Despite some inventive photography and decent gore for its day, its uneven pace renders it a curio for Coppola fans.

The fifth Purge outing goes for broke and comes out wanting, working neither as political commentary nor horror-action-thriller. In this case, bigger is definitely not better.

This all feels a long way from Chandor’s glory days of Margin Call and All Is Lost. Save the occasional flourish, Kraven The Hunter is limp, tired, uninvolving superhero fare.

It’s a great premise but, over-populated by dull characters and a flat feel, Cocaine Bear is sadly a party animal that never gets started. Not quite a coke zero but close.

With Soderbergh now only on cinematography duties, this one takes all of the original’s surface — chiefly the hip gyrations — and none of the substance, interesting character arcs or charms.

Bay’s genuine determination to give you a good time still doesn’t result in fun. Overlong, overstuffed and soulless, for fans who grew up with Optimus and Co, The Last Knight will sting like a bee.

A Rainy Day In New York hits all of Allen’s touchstones, has a few good one-liners and is well played, but it sorely lacks the wit, vitality and veracity of his ’70s/’80s heyday.

One’s a cop who can’t shoot straight! One’s a kid with a nose for trouble! Together… they lack the wit, thrills and rapport to deliver fun genre times.

The Last Days Of American Crime takes a potentially entertaining, if silly, premise and drains it of any reason to get invested. You can just imagine a John Carpenter would have doubled the thrills in half the time.

It’s Sliding Doors with place settings, but Love Wedding Repeat can’t make its time-loop conceit work (stick with About Time). Bouquets to the cast and production values; a quickie divorce from everything else.

The female-first vibe is refreshing but Something In The Water is something old, nothing new, a lot that is borrowed and an eyeful of twinkly blue.

It’s not just that Wild Mountain Thyme is bogged down by overripe Irish trappings. It also fails to work on the most basic romcom level — wanting to see a couple get together. Sadly, not even a strong cast can rescue a pot of gold from the end of this rainbow.

A meandering, unfunny, mostly flat effort, Hidden Strike is a disappointing waste of two immensely likeable stars. Head straight to the super-fun outtakes.

Wonder Park has some fun bits (a narcoleptic bear) and a worthy sentiment around the value of going through tough times but it’s too hectic and untethered to land its loftier ideas. It aspires to be Inside Out but falls way short.

Seemingly wishing to start another Conjuring off-shoot, this will be lucky to get out the gate. Without an original or fresh bone in its body, The Curse Of La Llorona smacks of unelevated horror for the very easily scared, not to mention pleased.

Ironically, given the mantra for its main characters is about embracing the weird, The Addams Family 2 does little that is out-there or different, delivering a safe, stale 93 minutes. Unlike that killer theme tune, it never actually clicks.

I Feel Pretty is an intermittently funny vehicle for Schumer’s talent that never really gets to grips with the ramifications of its high concept. Its heart is in the right place, but its head is somewhere else.

It should be a delicious chocolate gateau but Emma. makes heavy weather of Austen’s charmer, delivering a tonally uneven, mostly airless affair. Amy Heckerling’s Clueless — Emma in the Valley — remains the big screen benchmark.

The Boss Baby is hopped up on energy but never harnesses it effectively. There are laughs and heart buried in this idea somewhere. Shame the film is too hyperactive to find them.

An old school romantic thriller that lacks the subtleties and sophistication of recent spy storytelling, be it on the big screen (Bridge Of Spies) or small (The Night Manager).