Jamie Neish

Astronaut is a sweet film that could have done with more fire under its belly earlier on.

To follow-up a successful film is a daring achievement in itself, but to surpass it is something else, and that’s what DuBois does here.

Mercier has a presence about him that’s unshakable.

Spall and Redgrave are both magnificent, rising above the material in a way only talented actors can. One wonders what they could have done with more interesting and passionate material.

Sure, Detective Pikachu is messy and predictable, but the fact that director Rob Letterman and his team embrace the inherent absurdity of the Pokémon franchise as a whole means it’s a hoot.

The script, credited to no more than three screenwriters (one of which being Vanessa Davies, who came up with the idea), is predictable and innocuous, yet peppered with comedic moments that are deserving of a chuckle or two, if only for the way they’re played by the talented cast.

It may not be what everyone expects from a sequel to The Lego Movie, but in some ways that’s the best thing about The Lego Movie 2. It presents something different, wrapped in a familiar outer core.

The real success to Ralph Breaks the Internet is how, while having the most amount of fun possible, it’s also able to be cleverly subversive (no longer should the iconic Disney princess be reliant on men to strive) and deeply rooted in its themes of friendship, and all the ups and downs that follow.

Calibre is a thriller, but one that’s rooted in reality rather than the fantastical or absurd; edgy and tragic.

The ingredients of a quality film are all here. It just could have done with being a bit shorter and a bit snappier.

It won't be for everyone by any means, but Captain Underpants: The First Movie would be easy to overlook as another kids-only waste of money. But that's not the case. The film subverts this every step of the way and constantly turns in new, unexpected directions in order to surprise and entertain its audience from the start to the end.

Killing Ground isn't terrible. Far from it, in fact. It uses the non-linear narrative structure well to toy with the audience and create a sense of mystery around the duel arcs of the characters involved.

The script is well-paced and packed with twists and turns that offers little in the way of respites to the beautiful mayhem. The characters, too, are wonderfully realised through the performances from the entire cast, each making a big impression no matter how long they're on screen.

What the director and writers have done is turn something that's considered by many to be dumb-but-fun into an overlong, unfunny film that's just plain dumb.

My Life as a Courgette is a tender, funny and wise-beyond-its-years stop-motion animation that takes on tough subject matter through the eyes of a child.

It's hardly original nor necessary, but it's a fun and absorbing escapade on the Seven Seas.

Mindhorn is a ridiculous comic creation taken to extraordinary, laugh-a-minute heights.

Oldroyd has made a film here that's incredibly tied to its nineteenth century setting, yet modern at the same time in the way it addresses femininity - more importantly, the power women have no matter how they're viewed by society or expected to behave by their male counterparts.

Led by a trio of tremendous performances from its female leads, Wright, front and centre as Jamie, is the stand-out.

The Founder is a solid biopic but not one that will go down in history - unlike the multi-million dollar-making fast food chain at its core.

This is a sequel that advances on its predecessor in a way that's incredibly satisfying - and not only for the body count and beautifully constructed action scenes it delivers.

It's as if the writers have set out with the most basic plot imaginable, hoping to cover the cracks with distractions and colourful set pieces. It works, but the lack of depth and emotional heart is noticeable when the film hits some of its less than spectacular moments.

Boyle has made an admirable effort that captures the melancholy of being right back to where you started from. But it's not what it used to be - or what it could have been.

Zootropolis is a real delight - an entertaining and endlessly inventive comedy and something with more insight than anyone could have anticipated.

The film doesn't simply work, it trumps expectation and lingers long in the mind.

Carney, who wowed everyone with Once, has a knack for this kind of film. Sing Street promotes his best attributes, and succeeds in delivering toe-tapping, head bobbing thrills, heartfelt, if cheesy romance and big laughs.

It's a finely made thriller that's a little bit more contemporary than other le Carré adaptations before it, and allows the central trio a chance to shine and Lewis to do some weird things with his accent and mouth as a weirdly laid back and unconcerned British agent.

Even with many of the original voice cast involved it's a tired effort that sadly - and it really is sad - doesn't live up to expectations.