Ian Freer

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.

Although let down by muddled plotting, The Night House is a low-key, well-made thoughtful horror flick, excellently played by Rebecca Hall.

An enjoyable World War II spy flick, Munich: The Edge Of War scores with strong performances and filmmaking craft, but is let down by a lack of dramatic heft. A Father’s Day watch in waiting.

It doesn’t all land, but The Night Before is largely a salty, sweet jingle ball.

Alice Lowe’s directorial debut may falter in its grip, especially in story and tone, but it’s a daringly evocative film that marks a filmmaker of imagination and promise.

Edwards’ film boasts great filmmaking, noble intentions and cracking monster action. Yet it never reconciles its B-movie origins — preposterous premise, clichéd characters — with its solemn, Nolanised tone. This Godzilla stomps but very rarely romps.

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.

Perhaps not as heart-warming or charming as the first film, The Railway Children Return is engaging and entertaining in different ways, winningly played by its fresh cast.

Whisper it. A Quiet Place Part II might lack the smarts and novelty of its predecessor but it serves up strong set- pieces, Millicent Simmonds shines and Krasinski remains a director to watch.

If it lacks filmmaking fireworks and emotional wallop, The Children Act delivers a sensitive, thoughtful drama about complicated issues. And it is another reminder, if one were needed, of the subtlety and skill of Emma Thompson’s stratospheric talent.

The film is at its most entertaining when it’s a showcase for Smith and Lawrence’s easy chemistry, whether improvising a Reba McEntire country song to appease some rednecks or bantering about Burnett’s bad eating habits during a convenience store hold-up. They’re eminently watchable. Then again, when the highlight of an action movie fourthquel comes with the two stars watching a younger man do his stuff, it might be time to call it a day.

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.

A familiar tale of a quirky childhood is delivered with little in the way of freshness or truth. Still, the performances by Larson, Harrelson and Watts rescue it.

Graced with great performances from Garfield and Stone, The Amazing Spider-Man is a rare comic-book flick that is better at examining relationships than superheroism. If it doesn't approach the current benchmark of Avengers Assemble, it still delivers a different enough, enjoyable origin story to live comfortably alongside the Raimi era.

Bob Marley: One Love is a strange mixture of the authentic and the broad. Taking place in a perma-fug of ganja smoke, director Reinaldo Marcus Green’s (King Richard) intermittently engaging portrait of the reggae superstar is shot through with sincere intentions, but too often leans into the trite.

The second half falls into familiar action tropes, but Honest Thief has some twists and turns, sly humour and a refreshing feel for its characters that raises them beyond genre types.

The talking heads aren’t particularly revealing and there are some strange filmmaking choices. But McEnroe makes for incredibly likeable company and the tennis, as ever, remains sublime.

It’s a sad, emotive, important subject but it deserves a more detailed, heartfelt film than this.

'We need an edge!' is Coach Ulbrickson’s verdict on his crew, and the same can be said about the film as a whole. But there is enough in The Boys in the Boat to keep you invested come the final showdown.

If the film never completely coheres into a satisfying whole, Days Of The Bagnold Summer has a lot going for it: a nicely judged sense of character, an eye for detail and strong performances, especially from Dolan. It also suggests Simon Bird is a filmmaker worth watching.

An enjoyable if routine period crime picture with good performances from Jason Sudeikis and Lee Pace, but it lacks a personality and style of its own.

It’s very conventional in form and dances round his famous temper, but Never Give In touches on topics (class, identity) rare in a sports documentary, etching a moving portrait of a man reflecting on his past at a point when his memory is slipping away from him.

In some senses T2 shares elements with its Terminator namesake. It’s inventive and full of surprises. But unlike Cameron’s sequel, it doesn’t reimagine the original in quite the same glorious way.

More engrossing than both "Sully" and "The 15:17 To Paris," Richard Jewell is enlivened by Paul Walter Hauser’s breakout performance yet undone by a lack of subtlety and real dramatic wallop. Solid, dependable, very late period Eastwood.

Neither a splendid phoenix from the ashes nor a complete failure, The Man Who Killed Don Quixote is erratic, occasionally inspired, occasionally dull, but shot through with a grandiose sense of ambition. Plus, Driver and Pryce add some magic along the way.

It cleaves closely to the familiar, but Finding The Way Back scores points by finding different beats within the formula and from a great Ben Affleck performance.

A darker middle act, Fear Street Part Two: 1978 lacks the verve of 1994 but still delivers enjoyable summer camp-based bedlam. Next up: 1666.

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