James Mottram

For sure, Bigelow has crafted a film that works both as nerve-shredding entertainment and as a thought-provoking anti-nuclear statement.

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.

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.

Operatic in its intensity and lush in its visuals (Anderson shot with old-school film format VistaVision), it’s a sometimes ragged, unwieldy experience.

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.

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

Well made, but instantly forgettable.

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.

Sinners really comes to life via the musical numbers.

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

You won’t be able to shake the feeling that there’s a lack of heart and soul here.

A road movie that really makes you think about the stops it makes, there is real pain inside this film; Eisenberg and his cast do well to ensure you’ll feel every moment of it.

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

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.

A fresh spin on a difficult topic, it’s a high-wire walk that balances sensitivity and sensationalism. You won’t find a more compelling film this winter.

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.

What results is a film that both works as a finely-tuned thriller and a meditation on the Church’s place in today’s society.

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

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

A Different Man is in essence a meta-movie, one that cunningly examines issues surrounding beauty and artistic creation.

Mielants, who brilliantly conjures a dank, oppressive mood (even a shot of childhood fave Danger Mouse on TV fails to lift the spirits) skilfully avoids any overwrought confrontations; the film’s understated power only grows as it goes on.

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

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.

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

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.

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.

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.

But as the film lurches into the final third, there’s little emotional sustenance to keep you going. Just one yawn-worthy twist and some dud CGI. Avoid.