Jamie Graham

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.

No Badlands, but the best of the recent minor Malicks. And it features Val Kilmer with a chainsaw.

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

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

Despite its 95-minute running time, Banks’ wild adventure feels drawn out. Never sure if it wants to conjure real suspense and scares (it fails) or embrace riotous comedy in a full-on bear hug, Cocaine Bear also suffers from moments of cartoonish CGI.

Not quite magnificent but certainly Fuqua’s best since "Training Day" and a rare remake that actually delivers. Yee-haw!

The Soska sisters’ feminist ‘T Is For Torture Porn’ has the most to say but everyone will have their own favourites (D, K, T, X and Z, since you asked).

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.

Tries to fit in so much it threatens to tear apart at the seams, but ultimately rises to the impossible occasion.

While it hardly stays with you like The Invisible Man, Renfield is a fun Friday night at the movies.

A propulsive thriller that’ll appeal to die-hard fans and newbies alike.

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...

It’s no "Heat" but the niggles are easily forgiven given the virtuosity on show and the mood oozing from every frame. No one shoots faces, architecture and gunfights like Mann.

Kenneth Branagh finds interesting ways to grease the wheels of this new take on the oft-filmed novel.

Scott operates on a suitably Biblical scale and grounds the spectacle with rock-solid turns from Bale and Edgerton.

This is the anti-Heat: no sheen, no shimmer, no obsessing over highly grandiose themes and precise compositions; just grime and desperation.

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

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

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.

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

Performances pop as Earth gets the chop, with US politics, big business and social media going up in flames.

Favoring charisma over character, this action-espionage thriller hangs lots of action – some solid, some ace – on a threadbare plot.

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.

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.

Some entertaining bicker-banter, but you may feel like Venom craving human heads: undernourished and angsty for what could’ve been.

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.

An absorbing thriller that favours vivid characters, profound ideas and Old Testament morals over propulsive plotting and set-pieces. With lots of blood.