James Mottram

Somehow Johnson’s sophisticated turn – the best of her career – will keep you on side. As romantic as Materialists is, it’s also realistic which makes it so watchable.

Two actors, among the very best of their respective generations, come together for Dragonfly, a bleak but captivating study of loneliness and social care set in contemporary Britain.

Denis’ sparse story delivers details on a need-to-know basis, right up to the finale. Strong on atmos, thanks to Tindersticks’ score, it’ll chill you to the core.

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

With Hill on co-scripting duties with Scott Pilgrim scribe Michael Bacall, 21 Jump Street was always going to live or die by its gags. Fortunately, it boasts that sweet-yet-dirty comedy that Hill revels in.

With a quality cast (which also includes Lena Olin as Winton’s wife and Jonathan Pryce as his friend), this is a finely crafted film that unfolds with great care, building towards a cathartic climax.

On form as both director and actor, Jones crafts a mournful but moving hymn to the western. The feminist subtext, meanwhile, brings a fresh slant to the old genre.

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

Detractors may carp that Cronenberg is showing us nothing new, but Maps is so flawless in its execution, it vividly refreshes the subject matter. Never overcooking the setting, it’s a story right in his wheelhouse; a very human look at characters barely clinging to their humanity.

If the Collette/Carell reunion suggests Little Miss Sunshine, it’s not quite that crowd-pleasing. But, crafted with much TLC and sympathy, it’s perfectly tailored to the tongue-tied teen in us all.

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

Jamie Foxx is on awards-worthy form.

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

It’s absorbing to a point, but adds little to what’s gone before.

It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.

The Final Reckoning brings both the Dead Reckoning storyline and the franchise as a whole to a satisfying close. As ever, Cruise is in peak condition, front and centre amid some looney stuntwork. If only his antagonist Gabriel was a more worthy opponent.

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

More Blue Steel than Magnum, this is a perfectly serviceable sequel, but dogged by repetition, it lacks the original's speed and sizzle.

Is it scary? Rarely, to be honest. But it knows how to twist the knife, at least.

Loving and lavish, Kenneth Branagh’s take will please traditionalists more than revisionists, but there’s enough here to enchant both young and old.

Smart, literate and romantic, it's this year's (500) Days Of Summer, but with a few more shadows. Like Calvin, you'll find it hard to resist Ms Sparks.

Kravitz, making her directorial debut, knows exactly how to drip-feed information, until it dawns on you that it’s all about to get very bad indeed.

All the cast play their parts, but an off-the-leash McAvoy is a joy to behold, channeling the same twisted energy he mined for his addict-cop in Irvine Welsh adaptation Filth. Touching on issues of class and the rich-poor divide, the result is a top-notch British thriller that’ll scare the bejesus out of you.

Smartly executed, endlessly quotable and machine-gun quick, this is one of the funniest films of 2013. Accessible for Partridge novices and hugely rewarding for the faithful.

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.

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.

Loud, lewd, inventive and outrageous, Deadpool is a delight. All credit to Reynolds and co. for having the steel balls to go this far.

Uplifting it isn’t, but there’s poetry to be found in these desperate lives, and Riccobono never judges or sensationalises his subjects. Sensitive, if slightly unfocused.

It would be unfair to claim this closing film concludes on a whimper. But neither is it quite the grand finale the title would have us believe. More like a pleasant stroll with characters you know and love.

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

Both revealing and good-natured, its a very inviting exploration of one of the 20th Centurys major artists.

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.

With A+ acting, a solid script and sensitive handling, there’s enough here to move even the hardest of souls.

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

Johnson, looking radically different under a cropped black wig, takes this opportunity and wrestles with it. Not since his work for Michael Bay in Pain & Gain has he done anything this out of his comfort zone.

Crafting a thriller that is tense and taut, Álvarez truly understands what makes an Alien movie breathe, while also expanding on the mythology of the series.

The final act loses its way, but in the main West wraps his slasher trilogy in satisfying style, putting a blood-soaked, Hollywood-branded bow on his eras-spanning saga.

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

Boasting a fantastic turn from Ethan Hawke, this is bold indie filmmaking. Budreau and his stars deserve a fanfare.

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.

Loud, intense, violent, relentless, Fury doesn’t stop until the credits roll, thanks to Ayer’s cracking direction and a committed cast. The best WW2 movie in some time.

True, Becoming Led Zeppelin is never going to do anything but celebrate, given it’s an authorised take on the band. But there’s warmth and good humour here.

The home stretch is drenched in sticky-sweet sentiment, but Murray’s fans will rejoice at the chance to see their idol in full-on grouch mode.

A valiant effort that never quite scales the dizzy emotional heights required, running out of oxygen in the final act. Visually, though, it’s stunning.

It’s entertaining to a point. ... But whether the filmmakers truly get under Trump’s skin is debatable. Do we learn much new about him? Perhaps not, but it’s an absorbing journey all the same.

A tender, decade-spanning love story, exquisitely told by director Oliver Hermanus, The History of Sound is yet another wonderful showcase for the considerable talents of Josh O’Connor and Paul Mescal.

Not the deepest western you’ll ever see, but it sure knows how to pack a punch (and fire off a round). Fans of the genre will get their kicks.

Even in a crowded AI-movie market, Edwards’s stellar sci-fi is a terrific achievement. See it on the largest, loudest screen possible.

Reversing his "Take Shelter" role, Michael Shannon convinces as her grounded husband and "Mad Men's" John Slattery offers good support as a fellow vet. But this is Cardellini's film, and she dominates with a terrific, tough-minded turn.

Ozon keeps the melodrama at bay to deliver a typically subversive study of growing pains. And in Vacth he’s found a real star-in-waiting.

Neville’s film is so forward-thinking, it’s easy to forgive the more superficial aspects of the production.

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

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

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

Blending OTT gore, devilish humor and on-the-nose satire, this is sick, twisted and hugely enjoyable.

Funny, twisty and thrilling, this is shellhead’s most entertaining solo flight to date. It’s also an impressive pace-setter for this summer’s barrage of big movies.

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

It’s just a pity that the storytelling sprawls all over the place, with some plotlines (like the Beetlejuice/Delores discord) failing to pay off. But mostly Beetlejuice Beetlejuice is a fun afterlife frolic.

Adams is as watchable as ever as Margaret, backed by fine support, but the problem lies with Waltz. He’s more caricature than character, and Burton proves unable to harness his energy as well as Tarantino did.

While the plot toys with credibility, director Mikkel Nørgaard ( Borgen ) conjures a squalid atmosphere – the stuff of real nightmares. This is so grimly compelling that even if you want to look away, you won’t be able to.

Murphy’s youthful cheekiness has long gone, stripping this sequel of some of its verve. But this is still an enjoyable, affable reunion: the heat is just about back on.

You’d be hard-pressed to call it moving, but at least there’s an emotional narrative that drags us through the grisly bits. Sick, dark and laugh-out-loud nuts.

Sadly, a generic script doesn’t aid the film’s overall ambitions. A little less than the sum of its parts, Run Rabbit Run is ultimately more intriguing than outright terrifying.

If spending time in the bio-luminescent forests and turquoise oceans of an alien planet is your thing, then Fire and Ash does everything you’d hope. It’s a marvel of CG craftsmanship and of Cameron’s pursuit of perfection.

An impish Peter and an enjoyable Hook shine in this comfy, occasionally inspired take on J.M. Barrie’s classic.

Packed tight, Jacobs’ straightforward sequel may boast less up top than the Soderbergh-directed original, but still bulges where it counts.

Another silly but sturdy instalment that’s as well-oiled as The Rock’s muscles. If the ‘Letty in London’ story doesn’t exactly have that new-car smell, this is still the fastest soap opera on wheels.

As summer blockbusters go, it’s only ever really mildly diverting. But bringing us a first Latino superhero in a DC movie, ably played by the charming Maridueña, is still to be applauded.

Injecting fun and fairground thrills back into the spy movie, Kingsman is a blast. Firth is sensational, Jackson rules and newcomer Egerton surprises. Mission accomplished for Matthew Vaughn.

The resulting drama offers a great showcase for Dyrholm, whose slide towards instability is the film’s core.

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

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

Cool cast, hip directors, but a movie that's less than the sum of both. Like its title character, Jeff is gentle, warm but a little forgettable.

For those looking for an easy-on-the-eye, brain-in-neutral-thriller, Wolfs still hits the spot.

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

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

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

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.

Bell is as low-key brilliant as he always is – that ominous, gravelly voice gets a great workout, while his withered, grey-haired appearance lends the film real gravitas. And yes, there is enough Saw iconography here to keep the bloodthirsty on-side.

Kneel before shannon. His primal, powerhouse turn drives this criminal biopic. the film won’t win any prizes for originality, but its star proves he’s a real man of steel.

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.

With so many of the gang now in the ground, this swansong doesn’t boast the same punk energy of the show’s early seasons. Only occasionally does it snarl and show its teeth, with flashes of the cold-blooded violence that gave it so much of an edge.

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.

A tender, thoughtful film that finally brings the legendary singer-songwriter’s story, or at least a snatch of it, to the big screen.

[A] memorable, conventional account of a true maverick.

Jurassic World is a fiendishly crafted blockbuster: old-fashioned thrills, heroism and romance, locked inside a smart, self-aware shell.

Well made, but instantly forgettable.

To The Wonder doesn’t quite live up to the sky-high expectations set by his earlier films. But it’s still a brave, soul-stirring and sensitive work.

Outrageous, outlandish and overboard, The Dictator will satisfy Cohen's army of fans. But it never feels as funny, full-on or fresh as "Borat" and "Brüno."

Throughout, there’s a tendency to descend into farce, which yields laughs, but ultimately hampers these Letters’ potential to say something more profound.

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.

A terrific thrill ride. With Ford in fine form, Indy’s last stand is a highly satisfying blend of action, humour and emotion.

Once again, Nathan Crowley’s production design is wondrous, a multi-colour extravaganza that truly brings Oz to life. Simply spending time there – with its fields of tulips and fireworks in the sky – is one of the great pleasures of this movie. A film that will surely satisfy Wicked’s extensive army of devotees.

A sweet-natured love story, well-intentioned, animated and acted, but lacking the depth of some of the studio’s greatest triumphs.

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

In the end, Road House is a solid actioner, a frolic that Liman marshals competently. This is a fun Friday-night fight-fest, best enjoyed with a few bevvies – brash, loud, knockabout and liable to leave you with a cauliflower ear or two.

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

While the Bride’s relationship with Frank isn’t exactly a tear-jerker, Gyllenhaal has made something unique and singular. An outlier in the Frankenstein canon, it’s both a thought-provoking re-assessment of Shelley’s work and a bonkers feminist call-to-arms. They don’t come much wilder and weirder.