John Nugent

A solid, old-fashioned Irish Western about what it means to hang up your rifle. It isn’t especially deep, but it’s good to see Liam Neeson find some character depth among the usual shooting and grumbling.

It never scrapes the heights of Jackson’s trilogy — few do — but amid a messy meeting of worlds, there are stirring moments.

Paul Feig is mostly back on form with a likeable, frantic, murderous, madcap money-grab of a high-concept comedy. It could be funnier, but it rarely stops for breath.

Ron Howard’s genial account of the legendary Muppeteer plays it safe, with a fairly traditional documentary-making approach — but it still manages to be adequately inspirational, celebrational and, yes, even Muppetational.

Michael Bay’s tribute to the emergency services (which involves blowing several of them up) is noisy, messy and frequently absurd — yet still somehow his most gleefully entertaining effort in at least a decade.

A fitting — and frustrating — end to an extraordinary career. Ken Loach’s powerful, poignant storytelling is occasionally stymied by his less subtle impulses.

John Woo’s first American film in 20 years is not the filmmaker at his peak — but it has its moments, with energetically filmed action enough to distract from a melodramatic tone and sometimes silly concept.

If you liked Enchanted, this is a dependably familiar serving. In an era where Disney is constantly raiding its archives for intellectual property to remake, this is a sequel that feels unusually original by comparison.

Its wackier moments sometimes feel like they have more bark than bite, but as an uncommonly honest and authentic depiction of motherhood, Nightbitch will come as sharp relief to mums everywhere.

Though occasionally undone by its Sunday-teatime tendencies, this is a spirited and gently entertaining slice of wartime espionage, with sharp, wry performances from the ensemble cast.

Short, sharp and mostly satisfying, this is a thriller that sticks to the stripped-back fundamentals of the genre — no more, no less.

Reassuringly formulaic, this is a straightforwardly inspirational-by-numbers sports movie, made watchable thanks to Jharrel Jerome and Jennifer Lopez.

This might not be the venerable animation house at its very best, but it is a reminder of why they have endured for so long. Why change a formula when it’s a winning one?

It doesn’t always work, but an unexpected, perfectly pitched bad-guy turn from national treasure Hugh Bonneville makes I Came By just about worth stopping by for.

This welcome spotlight on a lesser-known civil rights hero doesn’t escape the usual biopic clichés — but Colman Domingo’s impressive, deeply layered performance does this corner of history justice.

It has about as much depth as a floppy disk, but some lovely, shiny CGI and a stunningly ear-shattering score from Nine Inch Nails makes for a fun if forgettable bit of futuristic fluff. Bio-digital jazz, man!

This is a garish, frequently insane, diamond-encrusted fantasy trip into the mind of a superstar, and we should be grateful to have even limited access.

While it doesn’t quite boast the bullet-train speed or slickness of the original, it’s not a cheap replacement bus imitator, either.

An exuberantly bad-taste ode to our poochy pals. Dumb & Dumber, but for dogs.

Thoughtful, emotional and often surprisingly funny, Terence Davies offers a rich if inconsistent portrait of a unique poet long deserving of a big-screen study.

The story of how Flamin’ Hot Cheetos came to exist barely demands to be told (if it is even true). But like all good junk food, there are still some guilty pleasures to be had here.

Wicked: For Good, sure — but not quite Wicked: For Great.

It doesn’t always land, but it dares to be different, from the title to the team-up. Fresh and thoughtful in a way recent Marvel efforts haven’t always managed.

It hardly breaks the romcom mould, but You People is funny and thoughtful on how race can still divide a relationship. As the in-laws from hell, meanwhile, Eddie Murphy and Julia Louis-Dreyfus are the undeniable highlights.

Director Chloé Zhao’s entry into the superhero world is assured, ambitious and told on a dizzyingly cosmic scale — but even it can’t escape the clichés of superhero storytelling.

This is not a perfect film, but it handles the important stuff — abuse, trauma and recovery — unexpectedly well. If its reception is anything like the book’s, it will be a powerful vessel for people with similar stories of their own.

All is very much what it seems from another one of these all-is-not-what-it-seems thrillers — but there are fun, enjoyably unhinged performances from Edebiri and Malkovich.

More family-friendly than for-all-ages-friendly — but lively work from the thriving Sony Animation makes this energetic Lin-Manuel Miranda musical mostly worth your time.