James Mottram

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.

Uplifting it isn’t, but there’s poetry to be found in these desperate lives, and Riccobono never judges or sensationalises his subjects. Sensitive, if slightly unfocused.

While the plot toys with credibility, director Mikkel Nørgaard ( Borgen ) conjures a squalid atmosphere – the stuff of real nightmares. This is so grimly compelling that even if you want to look away, you won’t be able to.

Should be called ‘The Funny Guys’. The Crowe/Gosling partnership drives Black’s lurid comedy at top speed. Enormously entertaining.

Both revealing and good-natured, its a very inviting exploration of one of the 20th Centurys major artists.

With a wraparound narrative that never really strikes a balance between past and present, all that axe-flinging, ice-casting action makes a modest impact.

More Blue Steel than Magnum, this is a perfectly serviceable sequel, but dogged by repetition, it lacks the original's speed and sizzle.

Loud, lewd, inventive and outrageous, Deadpool is a delight. All credit to Reynolds and co. for having the steel balls to go this far.