Ian Freer

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.

The title might sound like something from Marvel Phase Six, but The Aeronauts is an exhilarating period flight of fancy, occasionally weighed down by backstory, but buoyed by Redmayne and especially Jones.

If it’s a hard film to like, Monos is ridiculously impressive filmmaking, savage and surreal, immediate but timeless. If Hollywood wanted to do a darker, grittier take on The Goonies, Landes is their man.

Not even the considerable talents of the ever watchable Naomie Harris can elevate Black And Blue above the broad and generic. The result is sadly aggressively formulaic.

By The Grace Of God lives in the present, a fast-paced, exciting, beautifully played film that matches Spotlight as a searing portrait of modern heroes who stood up.

Western Stars is not only a concert film presenting 13 Springsteen bangers, plus one great cover. Showcasing his charisma, wit, thoughtfulness and vulnerability, it emerges as a telling portrait of one of music’s modern greats.

All modern life is here — the good, the bad, the insufferable — and it’s glorious. Non-Fiction is Olivier Assayas in a lighter register and he wears it well.

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.

Of course, Scorsese delivers a stunning, gangster flick but The Irishman is so much more, a melancholy eulogy for growing old and losing your humanity. Savour every one of its 209 minutes, you won’t regret it.

It comes on like an Unsolved Disappearance Movie but American Woman morphs into something more interesting, a portrait of a woman gradually finding her place in the world. And Sienna Miller is stellar.

It’s a small, lightweight picture but Good Posture is alive to the messy realities of becoming a grown-assed adult, becoming more charming and involving as it goes on. It also suggests a bright future for writer-director Dolly Wells.

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.

Hotel Mumbai benefits from strong filmmaking and an unflinching gaze, yet it lacks dimensions, both in its characters and take on its subject matter. Still, it’s a punchy, promising debut.

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.

Anchored by a dazzling turn by Samara Weaving, Ready Or Not brilliantly fuses thrills, satire, laughs and horror. Don’t count to 100 — just go and see.

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.

For Sama powerfully mixes the personal and the political to thought-provoking, emotional ends. The result is one of the best documentaries of 2019.

Despite the formidable talents of Timothy Spall and Vanessa Redgrave, Mrs Lowry & Son doesn’t really get under the skin of the artist or the man, resulting in a film as dreary as Pendlebury’s colourless skies.

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.

Pain & Glory might see Almodóvar working in a minor key but it is a major work, graced with career-best work from Antonio Banderas.

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.

JT LeRoy is a decent telling of a fascinating, resonant true story. If it never really fulfils its promise, it’s worth it to see two major talents — Kristen Stewart and Laura Dern — in full flow.

There is the odd funny moment, but The Art Of Racing In The Rain relies too heavily on the charms of its golden retriever. It might be built on the notion that dogs are the wisest of us all, but the end result winds up stupid.

Combining both the universality and specificity of Springsteen’s music, Blinded By The Light is an exuberant anthem to the importance of music, the need to be seen and the hope of new possibilities.

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

Photograph is decidedly old-fashioned and the outcome is never in doubt but the craft is impeccable, the performances low-key and likeable plus there is something persuasive about Batra’s gentle worldview, his faith in people and love restorative.

The Chambermaid is a poignant portrait of one of life’s have-nots, sensitively played by Cartol as a woman slowly sinking into non-existence.

If it’s not top-drawer QT, Once Upon A Time In Hollywood is at once an engaging buddy comedy, an intoxicating fact and fiction mash-up, gorgeous filmmaking and a valentine to the movies that delivers geek nirvana.