James Mottram

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

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

A neat mash-up of high-school comedy and horror tropes. Pity it flounders in the final third, though.

Wingard does try out something different here, creating long dialogue-free sequences where it’s just the monsters going toe-to-toe. With Wingard relying on gestures, grunts and groans from his alpha-beasts, it’s like watching the most expensive silent movie ever made.

For the most part returning director Simon McQuoid does little to turn this into anything but a serviceable follow-up to a film that feels outdated and outdone by much better recent video game adaptations.

With the story lacking real jeopardy, the feeling this leaves isn’t quite fury, but it’s certainly apathy.

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

Too many characters and callbacks plus a formulaic plot means Frozen Empire doesn’t touch the original movies, but it’s a likeable-enough brand extension.

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.

Not as groundbreaking as the original, nor as expansive as all the best sequels are. But with some excellent cast additions, and Miller on murky form, this still sizzles to the touch.

While the film arguably lacks the rage-fuelled intensity of Joker, this is still a brooding tale that works hard to reinvent the comic book movie.

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.

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.

It’s a big old mess of a movie, in other words: flawed and (sometimes) fun.

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

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

Admittedly, the film’s oddly paced, elliptical middle section may leave you scratching your head. But then the twisty third act pulls it all together, sending shivers down the spine.

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

A damp-squib horror with zero thrills. Russell and Condon deserve much better.

A competent if occasionally clunky biopic, enlivened by a superb Marisa Abela, who truly inhabits Winehouse and brings those songs to life.

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

A competent rather than classic follow-up. If the action feels generic at times, the addition of Watts, more Winslet and the strength of Woodley are worth watching.

A notch above its predecessors.

A few fights enliven proceedings, including one on a road lined with cherry blossom trees. But this is largely dull and disappointing.

Opus is as off-kilter as they come. Perfectly suited, then, to a man like Malkovich.

Hardy is immaculate as Leo, from accent to demeanour. Now on his fourth film with Hardy, Oldman is a pleasure to watch, and even the smallest of roles have been carefully cast, with the likes of Vincent Cassel, Paddy Considine and Clarke all enjoying their moment.

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