James Dyer

Fellowes’ dewy-eyed swansong isn’t likely to make many Film Of The Year lists, but it still does Downton proud, closing the book on his Faragian utopia of stiff upper lips and British brio in a way that would do Cousin Violet proud.

Less a Star Trek movie than a middling pilot episode setting up a series that will never come, Section 31 makes for a disheartening send-off for a once great character.

Creepy and clever but rarely surprising, this horror hits its marks well enough, but fails to surpass its more rough-and-ready predecessor.

Despite a charismatic turn from Momoa and some fun frenemy banter, this is a disappointing send-off that sees the DCEU go out with a squelch rather than a splash. Fin.

This unholy concoction of ideas is unlikely to become a seasonal staple, but sift through the nonsense and there’s a surprising amount to enjoy in this bonkers Noel nightmare.

An inoffensive but inessential addition to Neeson’s latter-years thriller canon. Less the bus that couldn’t slow down than the car that couldn’t get started.

A love story, but not in the way you think. Carney’s latest ballad to the musical arts stays in tune, with a stand-out central performance from Hewson.

A largely uninspiring re-tread of a superior film, this has some decent moments and enough gnarly deaths to keep horror hounds vaguely entertained until the inevitable arrival of ‘Bird Box Santorini’.

A by-the-numbers boot camp drama elevated by resonant emotional truth and seen through the revealing lens of all-too-lived experience.

Soapy it may be, but for those who’ve poshed it up with the Crawleys since the very start, this is an affectionate, escapist hug of a movie — like being wrapped in a doily.

An inoffensive if unengaging family romp that somehow manages to make the ultimate day of fun feel like a drag.

Despite some solid action beats and a story that skips from Sudan to Afghanistan, Paris and, finally, Guildford, The Old Guard is a trite revenge/conspiracy yarn, clumsily told (“That woman has forgotten more ways to kill than entire armies will ever learn”), and squanders a potentially engaging conceit.

A frothy fantasy about a boy and his bear that makes up for in style what it lacks in substance.

Lively’s steely heroine and a propulsive plot ensure you’re never bored, but this is a generic thriller from a simpler time, bulked up by a single strong performance.

Unasked for, unnecessary but unexpectedly enjoyable.

A dour, plodding experience that's cold in every sense.

More potent as a cautionary tale than future noir, Anon’s digital dystopia certainly gets a Like, even if it doesn’t quite warrant a Share.

There are sparks of solid action amidst the confusion, but Max Landis’ script contains too much stilted dialogue to properly ignite.

Inoffensive fun, but unlike its paperback forbear, the cinematic Ferdinand is unlikely to stand the test of time.

Radcliffe menaced by a hostile bush is far more entertaining as innuendo than actual drama. What might have been Deliverance in the tropics is rather a Dan versus wilderness yarn.

A competent procedural rather than the ground-breaking cybersaga we’d hoped for. But as with Miami Vice, Mann’s boundless style does a remarkable job of disguising the lack of substance.