James Mottram

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.

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.

All hot wheels and dick jokes, it’s fun but forgettable.

LaBeouf is committed, and it’s fun seeing him go toe-to-toe with Gary Oldman (as his boss). But amid Montiel’s jigsaw-like structure lurk some generic revelations. Disappointing.

Jones and Oldman are on autopilot, while Costner grizzles like a sore-headed bear. Only Gal Gadot, as Reynolds’ widow, has any cred in this utter pap.

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

Tense and thought-provoking in equal measure, this is first-rate – a modern-day Dr. Strangelove played out on video screens.

The 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

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

Fascinating story, flawed telling.

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

This is a fine, fitting finale for the movies’ greatest mutant.

True, John Wick: Chapter 2 doesn’t quite hit the heights of the original – partly because the element of surprise when it comes to the fight-work is gone, partly because it lacks the emotional pull of Wick avenging his wife’s memory. But as badass B-movies go, this really gets the blood pumping.

Amalric jigsaws the pieces, conjuring a taut, tense air of Chabrol as he does.

It’s a smart gen-gap tale with loveable characters.

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.

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

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.

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.

Valiant, but flawed. Some of the set-pieces are superb, but there isn’t enough meat on the bones to turn this into a classic.

True, Hendricks has fun with her role as a good girl with a bad streak, while Shauna Cross and Johnny Rosenthal’s script fires off a few zingers. But with Thornton surprisingly disengaged and the robbery plot formulaic, it’s a limp dick of a sequel.

While there’s sweetness, the big, sweeping emotions you hope for never quite arrive.

Cumberbatch fits Doctor Strange like a pair of snap-tight surgical gloves, in yet another MCU triumph. Beautifully designed, brilliantly executed.

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

Guilty of being slavishly loyal, Taylor’s film never quite translates into the cinematic equivalent of Hawkins’ page-turner. Blunt, though, is excellent.

Seydoux again offers a frank turn, while Rahim and Ménochet add real class.

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

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