James Mottram

It’s a thoroughly enjoyable reunion – like being reacquainted with old friends.

Assayas and his team have created an indelible portrait of contemporary Russia, “a prison the size of a country” as it's called, one that perhaps only an outsider could ever get away with.

Adapted by director François Ozon, the script makes subtle adjustments to Camus's work without ever demystifying its more enigmatic elements.

It’s just a shame the formulaic story feels about as paper-thin as you might expect from an adaptation of a ladders-and-levels video game. As is so common in these Hollywood animations, the ‘family is forever’ theme looms large, but never once feels sincere or authentic.

Like an inoffensive light ale, the result slips down more pleasantly than you might expect.

While the Bride’s relationship with Frank isn’t exactly a tear-jerker, Gyllenhaal has made something unique and singular. An outlier in the Frankenstein canon, it’s both a thought-provoking re-assessment of Shelley’s work and a bonkers feminist call-to-arms. They don’t come much wilder and weirder.

The final act doesn't quite pay off, with characters' motives left frustratingly opaque, but the film is blessed with cast-iron performances, especially from Graham and Boon.

With so many of the gang now in the ground, this swansong doesn’t boast the same punk energy of the show’s early seasons. Only occasionally does it snarl and show its teeth, with flashes of the cold-blooded violence that gave it so much of an edge.

It’s a good exercise for Cooper in creating something more low-key, even if it doesn’t quite come off. Still, in the days where adult-skewing dramas are becoming an endangered species in movie theatres, this should be applauded for attempting the subject of divorce with a level head.

A tender, decade-spanning love story, exquisitely told by director Oliver Hermanus, The History of Sound is yet another wonderful showcase for the considerable talents of Josh O’Connor and Paul Mescal.

Even if No Other Choice will leave you stone-faced, you can’t help but admire the invention on display, especially in later scenes, where Park dips into the surreal.

If spending time in the bio-luminescent forests and turquoise oceans of an alien planet is your thing, then Fire and Ash does everything you’d hope. It’s a marvel of CG craftsmanship and of Cameron’s pursuit of perfection.

It’s a tender – and sometimes affecting – portrait of the artist, one that hopefully will allow modern audiences to remember the contributions Lorenz Hart made to popular culture.

Despite the odd flash of gore (this is a ‘15’ certificate, so expect minimal scares), the film’s biggest crime is that it’s utterly boring.

Devised by Brutalist composer Daniel Blumberg, the songs are spirited, and Mamma Mia! star Seyfried invests fully. But with characters often reduced to making declamatory statements, it becomes an increasingly vexing exercise.

Once again, Nathan Crowley’s production design is wondrous, a multi-colour extravaganza that truly brings Oz to life. Simply spending time there – with its fields of tulips and fireworks in the sky – is one of the great pleasures of this movie. A film that will surely satisfy Wicked’s extensive army of devotees.

Powell is a very watchable everyman, convincingly demonstrating the man of the people integrity of his character. There’s great work too from Colman Domingo as the show’s slick presenter Bobby T and Michael Cera, who plays a loose-cannon contact that Richards makes during his quest for survival. Wright also handles the explosive action well, orchestrating elaborate, kinetic set pieces that throb with excitement.

Two actors, among the very best of their respective generations, come together for Dragonfly, a bleak but captivating study of loneliness and social care set in contemporary Britain.

This pleasingly madcap comedy-drama will no doubt satisfy fans of Lanthimos’s off-kilter take on the world around us.

A tender, thoughtful film that finally brings the legendary singer-songwriter’s story, or at least a snatch of it, to the big screen.

Writer-director Rian Johnson’s script isn’t quite the perfect box of tricks. It’s fairly tenuous that Blanc would turn up for this puzzler – apparently at the behest of Mila Kunis’ local cop. But it’s hard to punch down on a movie with such a riotously entertaining cast.

Perhaps it's hyperbole to call the film del Toro’s masterpiece – especially a story that has been told countless times. But this is a work that is the accumulation of three-and-a-half decades of filmmaking knowledge. Gory and grim it may be, but it is a tragic tale told in a captivating manner.

Certainly, this lacks the cheekiness of, say, M3GAN. With the exception of an amusing riff about Depeche Mode (better than Mozart, according to Ares), it requires a much-needed humour injection. In Tron terms, the future is less bright than po-faced.

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.

Schoenbrun’s film never feels derivative; instead, there’s something fresh and exciting about it, despite the almost deliberate slow-burn feel to its pacing.

Sharply observed with a top-notch cast and a pleasing old-school vibe, The Instigators is tremendously entertaining.

Perkins ensures everything services a story that comes armed with at least one almighty twist. Measured in pacing and tone, his film also feels extremely moody thanks to the overcast skies captured by cinematographer Andrés Arochi.

Murphy’s youthful cheekiness has long gone, stripping this sequel of some of its verve. But this is still an enjoyable, affable reunion: the heat is just about back on.

A rigorous and handsome drama, finely hewn by Costner and his cast, this is an absorbing ride into the Old West.

The final act loses its way, but in the main West wraps his slasher trilogy in satisfying style, putting a blood-soaked, Hollywood-branded bow on his eras-spanning saga.

To be fair, Blood and Honey 2 is actually a notch above its predecessor, if only because the production values are (relatively) higher. But despite a watchable turn from Chambers, this is largely Neanderthal filmmaking, even with hospital janitor Simon Callow offering up a Scottish accent and a lot of pointless exposition.

The cast is given a boost by the star power of Vanessa Hudgens, Alexander Ludwig and Paolo Núñez all reprising their roles as members of AMMO (Advanced Miami Metro Operations), plus Better Call Saul’s Rhea Seehorn joining as the ballsy US Marshall daughter of the accused Captain Howard. It’s just a shame they’re all woefully underused in a story that feels so same-old-same-old.

Linklater is a master of pacing and he times this story to perfection; you’ll be aching with laughter by the end.

As ever, Cronenberg leaves you with much to chew on, but dramatically The Shrouds feels rather inert, as if it can’t get out of second gear

Baker controls the narrative with real aplomb, crafting a time-bomb mix of physical comedy and high drama. Better still, the final third alights on real pathos.

This is an assured, blackly funny, and outrageous horror that will leave you roaring with approval.

With stellar songs by French singer Camille, a highly original score by Clément Ducol, and striking choreography by Damien Jalet, Emilia Pérez shifts effortlessly from musical extravagances to a gritty underworld milieu.

Delivering her first narrative feature since 2016’s American Honey, Arnold initially seems to be retreading familiar social-realist ground, delving into poverty-stricken working-class lives. But in its second half Bird crosses into fable-like territory, with impressive results.

It’s entertaining to a point. ... But whether the filmmakers truly get under Trump’s skin is debatable. Do we learn much new about him? Perhaps not, but it’s an absorbing journey all the same.

You’re left with the feeling that the film could have been made under another title, with no brand recognition, and be no less successful. Still, that’s Hollywood for you; at least the result emerges as a fine tribute to the unsung heroes of the movie business.

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

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.

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.

In the end, Road House is a solid actioner, a frolic that Liman marshals competently. This is a fun Friday-night fight-fest, best enjoyed with a few bevvies – brash, loud, knockabout and liable to leave you with a cauliflower ear or two.

Throughout, there’s a tendency to descend into farce, which yields laughs, but ultimately hampers these Letters’ potential to say something more profound.

Certainly, it’s not for those looking for fist-pumping sporting triumphalism. But in this age of franchise vapidity, it’s still a film worth grappling with.

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

Despite the slightly uneven pacing, Wright’s sturdy performance keeps things on an even keel. The result is a fiendishly sharp poke at questionable notions of Black representation in the modern world.

While its oddball nature won’t be to all tastes, the championing of female guile over insufferable male idiocy will surely leave many with a big smile on their faces.

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

Blending OTT gore, devilish humor and on-the-nose satire, this is sick, twisted and hugely enjoyable.

For a while, the film seems unsure which direction to take. But a darker third act sees Paul’s benign personality begin to warp in people’s dreams, impacting his entire life. Meanwhile, echoing the work of Charlie Kaufman (Being John Malkovich in particular), Dream Scenario morphs into a wickedly funny satire on the pernicious nature of social media.

But while DaCosta’s Candyman reboot was thrilling, this never musters the same level of engagement, despite a script that is chock full of good lines and a cast of willing participants. More meh than marvel, you might say.

Bell is as low-key brilliant as he always is – that ominous, gravelly voice gets a great workout, while his withered, grey-haired appearance lends the film real gravitas. And yes, there is enough Saw iconography here to keep the bloodthirsty on-side.

Eschewing melodrama for a more low-key register, it may not satisfy those looking for quick thrills. But this slow-burner is a stylish look at a bygone era, when all that mattered was having enough money to put petrol in your tank.

At least Scream star Matthew Lillard brings some creepiness into his little screen time. Otherwise, Five Nights At Freddy’s is moribund.

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.

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

True, it has a tendency to meander and lands Last Night in Soho’s Thomasin McKenzie with an underwritten role. But at its heart is a brooding Cumberbatch, offering one of the shrewdest performances of his career. The Road’s Smit-McPhee also impresses, especially as his character grows more important in the film’s final, unexpected third.

Violent, gripping, darkly funny and deeply human… everything, in other words, you’d expect from a Sopranos story.

Scott’s usual scope and scale meet unreliable narrators for a thought-provoking tale of systematic abuse. In a classy cast, Comer shines brightest.

An astounding spectacle, vast in scale and ambition. Prepare to have your breath snatched away.

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.

Another work that could really only come from Anderson’s relentless imagination: exquisite detail, eclectic storylines, superb cast.

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.

The sticking point for some will be the bone-crunching violence, of which there’s A LOT. But if you can stomach that, then this ticks that dumb-fun summer-movie box nicely.

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

An exquisitely rendered period tale, The World To Come is a slow-burning but ultimately rewarding drama of the heart.

Led by a trio of Oscar winners knocking it out of the park, The Little Things is a murky must-see.

Enola Holmes falls into the ‘something for everyone’ category.

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

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

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

Jamie Foxx is on awards-worthy form.

Ritchie makes a solid return to his wheelhouse with a crime yarn that turns the air so blue you can swim in it.

A generic cop thriller that rumbles along thanks to a quality cast but ultimately offers nothing fresh.

Not subtle (and might put you off getting hitched), but hits its mark with baseball-bat force.

There’s still a thrill seeing Stallone dig out a classic character for one last rumble, but this is formulaic action fare.

Riotously told and enthusiastically performed, Hustlers is hugely entertaining. Edgy, provocative and full of ker-ching

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

Sublime and stupendous. Beautiful, bold and remarkably executed, this is Gray’s masterpiece, driven by a career-best turn from Pitt.

Pleasingly silly sequel is a colourful, creative, deliciously daft animation.

Testosterone, muscles, action, guns and cars… it’s Fast & Furious business as usual. Could be tighter, mind, and the constant dick-measuring gets a little wearying.

If your humour skews towards the sick and twisted, then this box-fresh Child’s Play will give you one almighty kick.

Led by some fine performances, this is an impressive and intense example of how to adapt Stephen King.

Rowling’s universe just got bigger and more complex, but Yates never forgets to sprinkle stardust on top.

Definitely not Killer Queen, but thanks to a blinding turn from Malek, fans of the band will get their kicks.

If the film isn’t quite as inventive as the game-changing horror that was Cabin in the Woods (which boasted Joss Whedon as co-scripter), it’s infused with affection and craft.

Chazelle broadens his horizons with this superbly detailed account of the Moon landing. Gosling and especially Foy are out of this world.

True, Cooper’s film could do with a tighter edit, especially in the second act, where it has a tendency to drag. But all told, A Star is Born is a big achievement: raw, romantic, tragic, and tumultuous.

Macdonald leaves no stone unturned in this tremendous look at Houston, one that sheds real light on the singer’s psychology.

A robust follow-up, which carries the same brooding atmosphere and tension of the original. The young cast additions are also excellent.

Foster and McKenzie thoroughly convince in the hands of Granik, who moulds a subtle, assured, and often powerful tale.

If the story doesn’t strain itself in pursuit of originality, it does build to a satisfying conclusion.

Alongside Sheehan’s charms, it’s Belleville’s intoxicating visuals that truly fire the imagination. India has rarely seemed so seductive.

Respectable. Boyega adds real bounce and DeKnight delivers spectacle, even if the plot doesn’t strain too far from the original’s crash-bang formula.

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

Its love-in-later-life insights are well-worn, but with Staunton on song, Richard Loncraine’s film mines genuine feeling.

Confident, assured and athletic filmmaking. And with Boseman on such dignified, dynamic form, his Infinity War return can’t come soon enough.

A salty road trip tinged with sadness, sensitively handled by Linklater and his cast. Unfocused in places, but never less than diverting.

Cooper’s western may be too meditative for some, but its grit, beauty and honesty are too potent to ignore.

The cumulative effect is overwhelming. Poetically shot by a dozen DoPs, including Christopher Doyle, a powerful portrait of horror, hope and humanity emerges.

Loaded with flashbacks, it’s unevenly mounted but kept watchable by the lively script and classy cast.

Stunning fights and creepy CG come wrapped inside a blade-sharp story, as the swordsman vows to hunt the killers of a young girl’s parents. Truly epic.

Whether or not you’re a fan of Wonder Woman, this tale of her creation is rich, evocative and enlightening.

A superb satirical swipe at the worst excesses of the social media generation.

An animated film like no other, Loving Vincent is a staggering visual achievement.

An engrossing biopic. More than just another author/creation story, Curtis’ film has things to say about celebrity, wartime and family.

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.

Aronofsky’s maternal horror is the most out-there studio movie of the year. You won’t believe your eyes.

The farcical third act, wrapped up too neatly by director Lucia Aniello, softens the blows. More edges needed.

Despite winning work from the lead, it’s a tame, feelgood effort from writer-director Hannes Holm. Academy bait.

While director Ceyda Torun lets the focus meander too much, it’ll leave you, ahem, feline good.

With recriminations turning to compassion, the film sings when these French titans share the screen, Deneuve’s loose cannon a mixture of hedonism and terror. If only the other scenes were as compelling.

An intriguing insight into Lynch’s genius, intimately crafted and leaving you wanting more.

Crime, romance, fast cars, hot tunes... slicker than your chrome hubcaps, Baby Driver is the summer’s coolest movie.

Beautifully animated, scored and written, Barras’ little movie has a big heart. C’est fantastique.

The pacing is spot-on, the set-pieces memorable and all the characters are allowed to shine, without it ever becoming The Johnny Depp Show.

It’s heavy-handed, but with such fine performances from the youngsters, aided by the ever-reliable Shirley Henderson (as a social worker), that it’s hard not to get sucked into this tragic tale.

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.

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.

Astounding. With a director, DoP and cast at the top of their game, The Revenant is a filmmaking triumph.

A valiant effort that never quite scales the dizzy emotional heights required, running out of oxygen in the final act. Visually, though, it’s stunning.

Ponderous, pretentious and, most damning of all, just not much fun.

With A+ acting, a solid script and sensitive handling, there’s enough here to move even the hardest of souls.

Fresh cast, fresh ideas and full-on action gives Taylor’s reboot momentum, even if an overloaded script threatens to topple it at times. Doesn’t touch Cameron’s two movies, of course.

Packed tight, Jacobs’ straightforward sequel may boast less up top than the Soderbergh-directed original, but still bulges where it counts.

Jurassic World is a fiendishly crafted blockbuster: old-fashioned thrills, heroism and romance, locked inside a smart, self-aware shell.

Not the promised insider’s peek but Assayas and Binoche are still a potent combo, nailing the fragility of an actress facing the ageing process.

Funny, foul-mouthed and frighteningly on-the-money, Top Five is relentlessly amusing even while it’s super-indulgent and selfabsorbed. Rock on.

One of the strangest films you’ll see this (or any) year, it unsettles, bores, elates and amuses in equal measure. Not for everyone, but there’s plenty to chew on.

Not the deepest western you’ll ever see, but it sure knows how to pack a punch (and fire off a round). Fans of the genre will get their kicks.

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.

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.

Loving and lavish, Kenneth Branagh’s take will please traditionalists more than revisionists, but there’s enough here to enchant both young and old.

A genuine disappointment, given the talent involved, and a rare misstep for Penn, who can’t save this moribund vanity project from flatlining.

Detractors may carp that Cronenberg is showing us nothing new, but Maps is so flawless in its execution, it vividly refreshes the subject matter. Never overcooking the setting, it’s a story right in his wheelhouse; a very human look at characters barely clinging to their humanity.

Charmless, mirthless and witless, this waste of time is another black mark on Depp’s card, while his co-stars fare little better. Even low expectations won’t help you here.

Powerful drama, driven by a powerhouse performance, Selma is this year’s Lincoln. For Oyelowo and DuVernay, it’s a career changer.

If not quite on a par with PTA’s best, this is still a richly intoxicating brew of humour, violence and melancholy.

On form as both director and actor, Jones crafts a mournful but moving hymn to the western. The feminist subtext, meanwhile, brings a fresh slant to the old genre.

Bleak but beautiful, this terrific chamber drama confirms Ceylan as one of world cinema’s leading lights. The bum-numbing length may intimidate, but there’s more than enough quality to offset it.

The home stretch is drenched in sticky-sweet sentiment, but Murray’s fans will rejoice at the chance to see their idol in full-on grouch mode.

Disappointingly limp, with precious few belly laughs, despite a try-hard attitude.

A finely etched character study, with Cumberbatch on towering form. Set coordinates for the Oscars.

Injecting fun and fairground thrills back into the spy movie, Kingsman is a blast. Firth is sensational, Jackson rules and newcomer Egerton surprises. Mission accomplished for Matthew Vaughn.

Adams is as watchable as ever as Margaret, backed by fine support, but the problem lies with Waltz. He’s more caricature than character, and Burton proves unable to harness his energy as well as Tarantino did.

Loud, intense, violent, relentless, Fury doesn’t stop until the credits roll, thanks to Ayer’s cracking direction and a committed cast. The best WW2 movie in some time.

MacKay is marvellous, delivering lines with a Lear-like intensity, in what becomes a fascinating meditation on myth and madness.

Rude, crude and packed with more laughs than Jay’s had lovers (6,004, apparently), Inbetweeners fans will lap this up. All this, and a killer twist at the end.

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.

It’s absorbing to a point, but adds little to what’s gone before.

A few lowbrow laughs… but far too many one-note characters, performances, and plot points to make them worth showing up for.

As their early fights give way to growing respect, it’s a beautifully calibrated relationship, with small moments gradually building into something much bigger. A gem.

Loyal to the novel, but welcoming enough for newbies, Divergent does a decent if not jawdropping job of bringing its dystopian world to life.

Ozon keeps the melodrama at bay to deliver a typically subversive study of growing pains. And in Vacth he’s found a real star-in-waiting.

It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.

Shepard’s film is fun but forgettable in the first hour, then disappointing in the final third. But Law’s raucous turn keeps you watching.

Quillévéré’s elliptical plot isn’t always spot-on, skipping years to a near maddening degree. But treading a fine line between poetry and realism, it’s still heartfelt and harrowing.

The cars are hot, the action is decent, but the characters and plot need a serious tune-up.

A nifty lift-off and a tense first hour lead us, disappointingly, to a very bumpy landing. While Neeson and co. do their best, the script just doesn’t deliver where it really matters.

Sagnier is appealing in her first real romantic role and there’s Gallic charm galore.

Mostly, this is empty, ugly and pretentious.

Denis’ sparse story delivers details on a need-to-know basis, right up to the finale. Strong on atmos, thanks to Tindersticks’ score, it’ll chill you to the core.

Gormican’s script is the film’s big strength; the dialogue fizzes while the set-pieces pay off handsomely.

The result? Not so much "World War Z" as World War Zzzz.

It’s not groundbreaking, but the impressionistic approach at least strives for more than your standard-issue bio.

[A] memorable, conventional account of a true maverick.

A stunning space saga that takes off for new technical frontiers without leaving its humanity behind.

Maverick director James Toback (Fingers) and Alec Baldwin front this frequently hilarious insider doc.

Most of the gags fall flatter than a Knoxville belly-flop.

Assured, adult filmmaking from a writer/director who knows her way around the ups and downs of relationships.

The result? An accomplished, bittersweet drama that's more bitter than sweet.

With McAvoy acting as if his life depends on it, Filth is the Irvine Welsh film we’ve been waiting years for. Tastier than a deep-fried Mars Bar.

Utterly gripping. Aided by two punchy lead turns, an Oscar-worthy script and stunning in-car footage, Howard’s race film delivers top-gear drama. A piston- and heart-pumping triumph.

Full of ear-pleasing lines and obscure R&B tunes, it’s colourful, casual and full of flavour. An unexpected treat.

Capturing the essence of the source novel, this is a superior adult drama. Harrowing, heartbreaking but utterly compelling.

If the Collette/Carell reunion suggests Little Miss Sunshine, it’s not quite that crowd-pleasing. But, crafted with much TLC and sympathy, it’s perfectly tailored to the tongue-tied teen in us all.

Like all of Bay’s work, it’s over-the-top, brash and exhausting to watch. But like the lifestyle its characters aspire to, there’s an allure too.