James Mottram

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.

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.

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

Sly and Statham are always watchable – not least when the latter takes a job as security for an odious social media influencer. But they can’t save this mission from going painfully pear-shaped.

Director Craig Gillespie (I, Tonya) tells this pandemic-era David-and-Goliath story energetically.

As ever with Anderson, the design is meticulous. Some can find this style cloying, but it suits this glorified short perfectly, never outstaying its welcome.

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

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.

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.

A notch above its predecessors.

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

Anderson and co-writer Roman Coppola have great fun with the idea, channeling 1950s B-movie vibes. Like all of Anderson’s work, it’s very affectionate, even if every camera move appears to have been calculated with the precision of a mathematical equation.

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

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


Smartly walking that line so that newcomers to this fantasy world and old hands who spent days playing the game can both enjoy, Honour Among Thieves is a satisfying romp. It’s a little formulaic in places, but on the flip side, it pulls some really weird moments out of its sack.

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

True, it’s a clever loophole the director has exploited, but that’s as far as it goes. Blood And Honey is a sticky mess of a movie.

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.