Jamie Graham

Don't expect glamorous outlaws, sunny locales and exotic masterplans – this low-key thriller lifts the rusted lid off an all-too-real world of despairing criminality.

The Violators suffers from inevitable comparisons to Andrea Arnold’s Fish Tank, but is anchored by McQueen’s terrific performance in her feature debut.

Jarrold struggles to sweep things along with quite enough vigour – budget constraints crowd the edge of the frame – but Gadon is intoxicating as Elizabeth.

It's overlong and laboured in places, but worth a bite for the money-shot set-pieces. Plus... zombie tiger!

The arid landscapes are handsomely shot, the set-pieces punchy and intimate, and the performances robust, with Portman reminding us just how good an actress she is as her no-nonsense Jane gets on with the business of survival.

Never sure if it wants to be a hard-edged character drama or pacy action-thriller, Son Of A Gun has plenty to admire between the tonal wobbles.

A shallow, slow-burn horror that takes an age to get to the strong meat but looks good doing it.

Wahlberg finds his most interesting role since The Departed in a film that’s heavy on atmosphere and suspense but shy of a full deck when it comes to characterisation.

Vikander packs a punch but this Tomb Raider is a long way off the Holy Grail of the first three Indy movies.

Bleed for This is made with palpable commitment by all involved and there are scenes to jolt viewers out of their déjà vu.

The Crooked Man is at its best in a flavoursome first half that serves up crepuscular, shallow-focus photography (take a bow, DoP Ivan Vatsov) and backwoods dialect as tangy and prickly as wild gooseberries.

After a first half that suggests franchise fatigue is setting in, Fallen Kingdom zooms in for some scarily good set-pieces.

Starts off flavourful, turns rather bland. This Injustice League jaunt proves that DC is still a long way behind Marvel for on-screen action.

Fans, naturally, might simply want what they came for, and leave licking wounds. But they should be partially sated by some grisly kills and nods to Carpenter classics Christine and The Thing. And besides, let’s not fool ourselves that it really ends here. Friday the 13th: The Final Chapter was followed a year later by Friday the 13th: A New Beginning.

Kim Jee-woon's riff on the western is an entertaining frolic back-loaded with gore and guffaws. Arnie's back!

Fans will find just enough heart-swelling moments involving friendships and family to enjoy one last group hug.

It’s a bonkers, ballistic, brain-numbing ride.

Handsomely shot but rather inert adap of mid-19th-century play A Month in the Country.

A mix of the intimate and cosmic that shoots for the stars. You’ll float… and sometimes bump back to earth.

The action’s routine (as is the norm for this sub-genre) and the spy plot skimps on mystery and twists. But Bautista and Coleman maintain their winning rapport from the first film, and Schaal’s inappropriate comments never fail to amuse. It’s just about enough.

While there’s little here to jangle the nerves, The Mummy does wrap up enough adventure, action and quips to make it, if not a scream, a worthwhile Friday night out.

A grindhouse mix of "Wild Things," "Killer Joe" and "Streetcar Named Desire," The Paperboy won’t be for all. But it boasts a soupy atmosphere and Kidman’s best turn for years.

OK, so enough time is spent on the fairways to put some viewers off, but Tommy’s Honour scores a hole in one with its unpacking of the class wars at play.

One of the more solid ’70s horror remakes, but it lacks the verve and potency, romance and heartache of the original. Still, the haircuts are a vast improvement...

As in director Alexandre Aja’s Horns, the action alternates reality/fantasy to middling effect.

Misses the energy and vitality of Gregg Araki’s best work, but there’s more going on here than immediately meets the eye.

It’s a delight to watch Amy Adams do Jekyll and Hyde as she incrementally transforms from cheery Giselle to noxious stepmother, while Maya Rudolph is a whole heap of fun as the ultimate control-freak soccer mom who - of course - becomes queen when Monroeville turns into “one big fantasia”.