Ian Freer

A well-made Euro pudding, Alone In Berlin, like The Book Thief, can’t find the depths, darkness or daring to stand out.

An enjoyable foray into JK Rowling’s imagination, bolstered by a more appealing Eddie Redmayne, but you can’t help feel The Crimes Of Grindelwald is still treading water until future chapters.

The interesting world of the film doesn’t get the story it deserves.

The Neon Demon pulls off the unique feat of being both boring and bravura all at once. Like the world it depicts, it’s a feast for the eyes but little else.

Boasting a powerhouse cast, The Last Full Measure has the best of intentions, to celebrate servicemen without condoning war, but winds up with little else.

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.

The Man Who Killed Hitler And Then The Bigfoot is a strange but enjoyable mishmash of genres and ideas held together by the gravitas and class of Sam Elliott.

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.

If you don’t like Malick’s movies, A Hidden Life won’t convert you. But this is the filmmaker on sublime form, putting his artistry and obsessions at the service of something frighteningly relevant.

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

The Ballad Of Wallis Island is a big-hearted, consoling hug of a movie. It might not reinvent the wheel, but it’s the low-(Tim)-key crowd-pleaser of the year so far.

It’s not doing much daring or different but this delivers a fun, well-made summer theme-park ride, with fast highs and slow lows. Pleasurable, though it doesn’t linger.

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

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.

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.

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.

Don’t Look Up takes the pulse of contemporary life and finds it crazy, scary and, most of all, funny. It doesn’t all land but enough does to make it a sharp, bold, star-studded treat.

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.

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.

Joining the ranks of Sphere, DeepStar Six and Leviathan as soggy Alien do-overs, Underwater finds a few tweaks to the monster play book, but not enough to make it live.

Escape Room is like The Crystal Maze with more death. It’s fun at the start then loses its way, but it’ll do until ‘Flossing: The Movie’ comes along.

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.

A sentimental but solid dependable retelling of an oft-told tale, it doesn’t do anything radical with the material but gets by on well mounted set-pieces and Ford’s grizzled gravitas.

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.

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.

The leads work hard and there’s an attempt to add fun via cheesy music and Salma Hayek, but hackneyed dynamics, half-baked action sequences and saying “m#th&rf$ck*r” does not a Shane Black make.

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.

Jellyfish is a familiar but compassionately drawn portrait of hardscrabble lives, centred by a terrific performance by Liv Hill.