Jamie Neish

Mercier has a presence about him that’s unshakable.

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.

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.

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.

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.

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.

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.

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.

The stakes are upped and character count doubled, but this doesn't mean attention to detail is spared. The visuals are sublime with different animation styles used to tell different stories.

Mistress America is, despite it's wobbles and preference for humour over depth, a delightful diversion from Baumbach's typically weighty output and a star-show for the pair of performers at its centre.

An unconventional biopic that's masterfully executed and fascinating to watch.