Jamie Graham

Willow Creek is a movie to believe in.

Making his feature debut after directing a couple of Pixar shorts and co-writing Inside Out, Josh Cooley proves there’s life beyond the trilogy.

It’s a triumph of design, offering a creepy twist on such classic monsters as living dolls, the mummy and, in particular, the golem of Jewish folklore, a large clay figure that can be brought to life to do its creator’s bidding...

"Dunkirk" has a rival in the intensity stakes. Expect Bigelow’s deep-cutting drama to be part of the conversation come awards season.

Boasting great music cues, vivid 35mm lensing (by, of all people, Avatar actor Giovanni Ribisi, who here makes his classy debut as director of photography), and engaging gender politics that establish Mollner’s interest in more than just the thrill of the chase, Strange Darling is a slick game of cat and mouse.

Informed, balanced and deeply humane.

Among the blood, sweat and (ahem) salty tears are musings on desire, family and emasculation, but this is Kim at his most mischievous, the laughs drowning all.

A savage triumph.

It’s the filmic equivalent of a Penn and Teller magic trick: amaze, show the mechanics, amaze again.

The scuzz-chic visuals, sleaze-synth score and deep-cutting gore are effective, and shooting from the killer’s POV proves a valid USP. But Wood, despite giving his all, cannot match Joe Spinell’s unhinged turn in the original: nightmares in a damaged brain indeed.

Delivers as a Friday-night actioner, with some smart moves and good banter. Smith and Lawrence are on crackerjack form.

Much more fun than Coming 2 America. Don’t be surprised to see a fifth film greenlit.

Fun enough, but not the lightning-bolt-to-the-heart update we hoped for. For a far superior update of the Frankenstein myth, read Stephen King’s Revival.

A decent adaptation of McEwan’s excellent novella. Forget Fifty Shades – this is sex to make your cheeks blush.

The Expendables 3 marks a sizeable improvement on the first two outings.

No ray guns, no tentacular beasties, just gravitas in a film that goes boldly about its business but never quite lands.

Like Pacino’s Shakespeare rumination Looking For Richard (1996), Wilde Salomé is passionate and absorbing, though the insertion of lengthy clips from the film might irk viewers who’ve just watched it.

Fleischer made a better comedy-horror with Zombieland, but Venom’s a decent buddy actioner. You might even laugh your head off.

It’s fascinating stuff, if all a little rushed.

Something of a companion piece to the superior Finding Nemo, this is one of Pixar’s weaker efforts but still worth catching.

Drags in places and not always certain of its tone but with a sprinkling of eye-bulging visuals that wink to Spielberg’s heyday. Give it a shot.

While some viewers may want more explosions and twists, there's no denying Michael B. Jordan makes for a riveting action hero in Without Remorse

Hits all the routine beats but is plenty entertaining, with Pacino rediscovering his enviable pizazz to headline a quality ensemble.

A very big, exceedingly dumb thrill ride.

This is Malick turning graceful, ever-decreasing circles, though there’s a thrill to seeing him traverse hotel rooms and studio lots, nightclubs and strip clubs, after a career wrapped up in the period and pastoral.

It's a rocky, at times patience-testing ride that plays something like a screwball riff on The Plot Against America, but Amsterdam is ultimately worth the trip.

Don’t overlook this spiritual sequel to "The Shining." But don’t expect it get close to Kubrick’s original, either.

It’s hardly fresh, but the spectacle is decent and the relationship dynamics absorb just enough to fill the lengthy run time.