James Mottram

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.

Most of the gags fall flatter than a Knoxville belly-flop.

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

Childminders rejoice: the formulaic but family-friendly series is back and it's business as usual.

The cast is given a boost by the star power of Vanessa Hudgens, Alexander Ludwig and Paolo Núñez all reprising their roles as members of AMMO (Advanced Miami Metro Operations), plus Better Call Saul’s Rhea Seehorn joining as the ballsy US Marshall daughter of the accused Captain Howard. It’s just a shame they’re all woefully underused in a story that feels so same-old-same-old.

It’s not groundbreaking, but the impressionistic approach at least strives for more than your standard-issue bio.

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

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

Fascinating story, flawed telling.

This is a typically unsophisticated, heart-in-the-right-place comedy from Sandler, complete with Happy’s four sons mooning and making dick jokes.

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

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

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.

A superior thriller, with Cruise and McQuarrie slotting together like a bullet in a clip. Like Reacher on the firing range, the aim isn't always true – but the misses are fractional.

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

But while DaCosta’s Candyman reboot was thrilling, this never musters the same level of engagement, despite a script that is chock full of good lines and a cast of willing participants. More meh than marvel, you might say.

Sagnier is appealing in her first real romantic role and there’s Gallic charm galore.

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.

A credible, if slightly limited, prequel that recaptures the atmosphere if not the originality of Rosemary’s Baby.

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

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

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.

You'd think Greta Gerwig's bones were hurting, so achingly hip is this irritating New York indie.

All set around the American Civil War, Chapter 1 is a three-hour slow-burn that takes some patience, but rewards with handsome vistas, moments of thrilling action and characters that will likely grow in significance in subsequent instalments.

Sharply observed with a top-notch cast and a pleasing old-school vibe, The Instigators is tremendously entertaining.

Certainly, this lacks the cheekiness of, say, M3GAN. With the exception of an amusing riff about Depeche Mode (better than Mozart, according to Ares), it requires a much-needed humour injection. In Tron terms, the future is less bright than po-faced.

Loyal to the novel, but welcoming enough for newbies, Divergent does a decent if not jawdropping job of bringing its dystopian world to life.