James Mottram

From hook to pay-off, this is Shyamalan doing what he does best. A clever story, thunderously acted, carried off with élan.

It’s not a film for everyone, especially if you’re craving fast-moving action. But for Poe fans, it’s a grisly treat.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.

Swapping out historical accuracy for crowd-pleasing scenes of blood-curdling female empowerment, The Woman King is somewhat conventional as it plots its emotional beats, but it’s power comes from its rousing performances, especially Davis, who can knock a man dead with her stare, let alone her machete.

It’s not a naive film, but rather a hopeful one. Despite a world where darkness lurks, there’s light at the end of this tunnel.

Superbly marshalled by Gray, the ensemble cast is excellent – though if you had to pick a stand-out, it’d be Hopkins, as the kindly-but-principled grandfather. He casts a huge shadow over the film, a moral compass for all to follow.

Aftersun may be small in scale, but it leaves a distinct and lasting impression. No question, it’s the best British movie this year.

The film finishes with a dedication to him – although maybe there was no need. Wakanda Forever is, itself, a fitting tribute to him.

The Banshees of Inisherin is that rare thing: a film that will have you chuckling one minute, gasping the next. A story about what matters more – your legacy or your life – McDonagh has created a work of feckin’ brilliance.

If you’re looking for a good-old fashioned romp, stylishly made and frequently hilarious, this ticks all the boxes.

Clever, violent, and wicked, with a fabulously unhinged turn from Goth, West’s period psycho tale truly does have the X Factor.

A thoroughbred origin story and rollicking good adventure in one, led by an excellent Ralph Fiennes. It’s a hoot.

True, it has a tendency to meander and lands Last Night in Soho’s Thomasin McKenzie with an underwritten role. But at its heart is a brooding Cumberbatch, offering one of the shrewdest performances of his career. The Road’s Smit-McPhee also impresses, especially as his character grows more important in the film’s final, unexpected third.

Violent, gripping, darkly funny and deeply human… everything, in other words, you’d expect from a Sopranos story.

Scott’s usual scope and scale meet unreliable narrators for a thought-provoking tale of systematic abuse. In a classy cast, Comer shines brightest.

An astounding spectacle, vast in scale and ambition. Prepare to have your breath snatched away.

The film falters mostly with its disappointingly one-note female characters ... It’s a shame, for Reminiscence has some impressive ingredients floating around in its murky mix.

Another work that could really only come from Anderson’s relentless imagination: exquisite detail, eclectic storylines, superb cast.

There’s a lack of genuine emotional heft, not helped by some clunky dialogue (lines like "we are literally living on borrowed time"). But what the film really misses, amid several ear-splitting, CG-heavy alien-attack set-pieces, is humour.

The sticking point for some will be the bone-crunching violence, of which there’s A LOT. But if you can stomach that, then this ticks that dumb-fun summer-movie box nicely.

Classy work from director and cast, but an anti-climactic second half doesn’t quite knit together the incident and intrigue.

An exquisitely rendered period tale, The World To Come is a slow-burning but ultimately rewarding drama of the heart.

Led by a trio of Oscar winners knocking it out of the park, The Little Things is a murky must-see.

Enola Holmes falls into the ‘something for everyone’ category.

A huge misfire that even the most hardcore X-Men fans will find hard to warm to. Avoid, avoid.

The odd spirited turn aside, this is a throwback to the bad old ’90s days of comic-book movies.

The excessive CGI can be distracting, some performances veer towards caricature, but this is still a big-hearted take on London’s classic.

Jamie Foxx is on awards-worthy form.

Ritchie makes a solid return to his wheelhouse with a crime yarn that turns the air so blue you can swim in it.

A generic cop thriller that rumbles along thanks to a quality cast but ultimately offers nothing fresh.

Not subtle (and might put you off getting hitched), but hits its mark with baseball-bat force.

There’s still a thrill seeing Stallone dig out a classic character for one last rumble, but this is formulaic action fare.

Riotously told and enthusiastically performed, Hustlers is hugely entertaining. Edgy, provocative and full of ker-ching

Powered by the magnetic Aaron Taylor-Johnson, it’s rough around the edges, but still intoxicating.

Sublime and stupendous. Beautiful, bold and remarkably executed, this is Gray’s masterpiece, driven by a career-best turn from Pitt.

Pleasingly silly sequel is a colourful, creative, deliciously daft animation.

Testosterone, muscles, action, guns and cars… it’s Fast & Furious business as usual. Could be tighter, mind, and the constant dick-measuring gets a little wearying.

If your humour skews towards the sick and twisted, then this box-fresh Child’s Play will give you one almighty kick.

Led by some fine performances, this is an impressive and intense example of how to adapt Stephen King.

Rowling’s universe just got bigger and more complex, but Yates never forgets to sprinkle stardust on top.

Definitely not Killer Queen, but thanks to a blinding turn from Malek, fans of the band will get their kicks.

If the film isn’t quite as inventive as the game-changing horror that was Cabin in the Woods (which boasted Joss Whedon as co-scripter), it’s infused with affection and craft.

Chazelle broadens his horizons with this superbly detailed account of the Moon landing. Gosling and especially Foy are out of this world.

True, Cooper’s film could do with a tighter edit, especially in the second act, where it has a tendency to drag. But all told, A Star is Born is a big achievement: raw, romantic, tragic, and tumultuous.

Macdonald leaves no stone unturned in this tremendous look at Houston, one that sheds real light on the singer’s psychology.

A robust follow-up, which carries the same brooding atmosphere and tension of the original. The young cast additions are also excellent.

Foster and McKenzie thoroughly convince in the hands of Granik, who moulds a subtle, assured, and often powerful tale.

If the story doesn’t strain itself in pursuit of originality, it does build to a satisfying conclusion.

Alongside Sheehan’s charms, it’s Belleville’s intoxicating visuals that truly fire the imagination. India has rarely seemed so seductive.

Respectable. Boyega adds real bounce and DeKnight delivers spectacle, even if the plot doesn’t strain too far from the original’s crash-bang formula.

A fun romp with a great comic performance from Oyelowo. Doesn’t linger, but you’ll enjoy it while it lasts.

Its love-in-later-life insights are well-worn, but with Staunton on song, Richard Loncraine’s film mines genuine feeling.

Confident, assured and athletic filmmaking. And with Boseman on such dignified, dynamic form, his Infinity War return can’t come soon enough.

A salty road trip tinged with sadness, sensitively handled by Linklater and his cast. Unfocused in places, but never less than diverting.

Cooper’s western may be too meditative for some, but its grit, beauty and honesty are too potent to ignore.

The cumulative effect is overwhelming. Poetically shot by a dozen DoPs, including Christopher Doyle, a powerful portrait of horror, hope and humanity emerges.

Loaded with flashbacks, it’s unevenly mounted but kept watchable by the lively script and classy cast.

Stunning fights and creepy CG come wrapped inside a blade-sharp story, as the swordsman vows to hunt the killers of a young girl’s parents. Truly epic.

Whether or not you’re a fan of Wonder Woman, this tale of her creation is rich, evocative and enlightening.

A superb satirical swipe at the worst excesses of the social media generation.

An animated film like no other, Loving Vincent is a staggering visual achievement.

An engrossing biopic. More than just another author/creation story, Curtis’ film has things to say about celebrity, wartime and family.

From the generic title to the formulaic plot (stolen plutonium, highest bidder etc.), you can imagine the rest. But director Michael Cuesta (Kill the Messenger) injects vitality where it’s needed.

Aronofsky’s maternal horror is the most out-there studio movie of the year. You won’t believe your eyes.

The farcical third act, wrapped up too neatly by director Lucia Aniello, softens the blows. More edges needed.

Despite winning work from the lead, it’s a tame, feelgood effort from writer-director Hannes Holm. Academy bait.

While director Ceyda Torun lets the focus meander too much, it’ll leave you, ahem, feline good.

With recriminations turning to compassion, the film sings when these French titans share the screen, Deneuve’s loose cannon a mixture of hedonism and terror. If only the other scenes were as compelling.

An intriguing insight into Lynch’s genius, intimately crafted and leaving you wanting more.

Crime, romance, fast cars, hot tunes... slicker than your chrome hubcaps, Baby Driver is the summer’s coolest movie.

Beautifully animated, scored and written, Barras’ little movie has a big heart. C’est fantastique.

The pacing is spot-on, the set-pieces memorable and all the characters are allowed to shine, without it ever becoming The Johnny Depp Show.

It’s heavy-handed, but with such fine performances from the youngsters, aided by the ever-reliable Shirley Henderson (as a social worker), that it’s hard not to get sucked into this tragic tale.

Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.

A rich, rewarding crime film, shot with real skill. Riz Ahmed confirms his status as one of the most exciting Brit actors of his generation.

All hot wheels and dick jokes, it’s fun but forgettable.

LaBeouf is committed, and it’s fun seeing him go toe-to-toe with Gary Oldman (as his boss). But amid Montiel’s jigsaw-like structure lurk some generic revelations. Disappointing.

Jones and Oldman are on autopilot, while Costner grizzles like a sore-headed bear. Only Gal Gadot, as Reynolds’ widow, has any cred in this utter pap.

Beautiful and bold, rebellious and riotous, its sexual frankness puts E.L. James in the shade.

Tense and thought-provoking in equal measure, this is first-rate – a modern-day Dr. Strangelove played out on video screens.

The 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

Loud, ripe, violent, bloody and blackly funny, Free Fire cocks its gun right in your face. See it – and bring earplugs.

Fascinating story, flawed telling.

There’s Fassbender’s charisma, an unhinged Sean Harris and Tom Rowland music.

This is a fine, fitting finale for the movies’ greatest mutant.

True, John Wick: Chapter 2 doesn’t quite hit the heights of the original – partly because the element of surprise when it comes to the fight-work is gone, partly because it lacks the emotional pull of Wick avenging his wife’s memory. But as badass B-movies go, this really gets the blood pumping.

Amalric jigsaws the pieces, conjuring a taut, tense air of Chabrol as he does.

It’s a smart gen-gap tale with loveable characters.

Joseph Gordon-Levitt is credible as the former NSA contractor, but Stone gets side-tracked by his relationship with Lindsay Mills (Shailene Woodley) and Rhys Ifans’ leering CIA suit.

An impressive directorial debut – and acting turn – from Parker that deserves to be seen, despite the PR firestorm.

With robotic depictions of Iran's 'morality police', the political subtext is strictly one-dimensional. But with ace choreographer Akram Khan on board, the dancing is powerful.

Meandering like a jazz riff, Miles Ahead is a curio that doesn't quite come off. But credit Cheadle, both in front and behind camera, for refusing to play the easy notes.

Valiant, but flawed. Some of the set-pieces are superb, but there isn’t enough meat on the bones to turn this into a classic.

True, Hendricks has fun with her role as a good girl with a bad streak, while Shauna Cross and Johnny Rosenthal’s script fires off a few zingers. But with Thornton surprisingly disengaged and the robbery plot formulaic, it’s a limp dick of a sequel.

While there’s sweetness, the big, sweeping emotions you hope for never quite arrive.

Cumberbatch fits Doctor Strange like a pair of snap-tight surgical gloves, in yet another MCU triumph. Beautifully designed, brilliantly executed.

Luchini’s excellent, but this is guilty of gross tonal uncertainty.

Guilty of being slavishly loyal, Taylor’s film never quite translates into the cinematic equivalent of Hawkins’ page-turner. Blunt, though, is excellent.