John Nugent

This latest attempt to adapt the world’s laziest cat for the big screen just feels plain lazy: pure kids’-movie-by-numbers. The cinematic equivalent of a Monday.

The chassis may look familiar but there is a very different engine driving Furiosa from that of Fury Road: it’s a rich, sprawling epic that only strengthens and deepens the Max-mythology. It shall ride eternal!

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.

Scoop is not quite the prince that was promised. But there are some gripping moments, and some extraordinary performances — especially from Sewell and Piper.

As a political statement, Civil War is provocative and occasionally exasperating; as a purely cinematic experience, it is urgent, heart-in-mouth, extraordinary stuff.

A bit of an odd one, an action-comedy throwback that doesn’t quite know what it wants to be. Still, it bodes well for Pierce Brosnan’s new phase as a grey-haired action star.

As a fairy-tale romantic rendering of Ireland, Irish Wish is almost offensively bad; as another rung on the ladder for Lindsay Lohan romcom supremacy, it is almost, somehow, beyond reproach.

A gentle, odd little Australian fable. Warwick Thornton’s film has a lot of thoughts to process, and while they don’t always cohere, the performances from Blanchett and Reid keep it interesting.

Not a total catastrophe, but perilously close to being one. Is it too obvious to say Imaginary is simply lacking in imagination?

As furiously funny as it is helplessly horny, this lesbian road movie simultaneously feels exactly like a Coen brothers film — and entirely its own thing, too.

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.

It’s always nice to see Illumination outside of its Minions comfort zone, but Migration is mostly generic. A bit of a flightless bird.

It might look at first glance like another goofy CG distraction-fest, but this is that rare family-friendly film bursting with ideas and challenging concepts. It’s Charlie Kaufman’s introspective existential dread — for kids!

Statham is as gruffly convincing as he usually is (though it’s 20 minutes before he’s even allowed to kick any ass), but the action scenes are horribly inconsistent: fine in the hand-to-hand stuff, sloppy elsewhere.

It’s never quite as satisfying an experience as Schitt’s Creek — but thanks especially to a sparky trio of actors, Daniel Levy’s directorial debut is strong when it comes to the heartache of grief and the importance of friends.

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.

The obvious chemistry and charm of Sydney Sweeney and Glen Powell counts for a lot, yet not quite enough, in a romantic comedy severely lacking in both romance and comedy.

Waititi’s shtick runs thin, and there are badly misguided moments, but this is still a warm, heart-mostly-in-the-right-place portrait of a momentously poor sports team.

Absolutely batshit, utterly filthy and a true original: Poor Things is as good as Yorgos Lanthimos and Emma Stone have ever been.

Silly, witty, extremely British — this is a family film made with a very Aardman-y kind of craft and care. A good egg.

Moving and musical, this is a striking portrait of courage and creativity in the face of some horrific odds chucked at you by life’s lottery.

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.

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 might follow a linear storytelling path a little too strictly, but Sylvester Stallone is a bracingly honest documentary subject, and fans in particular will take much from this look at a life and career well lived.

Silly, strange, and very funny, Dream Scenario is a psycho-comic-drama with a peak Cage Renaissance performance powering it. Don’t sleep on it.

A classic American sports movie, with all of its triumphs and clichés — kept afloat by two brilliant, warm lead performances from Annette Bening and Jodie Foster.

A very silly, sporadically serious hood spoof, with some surprisingly frank discussions of mental health — and a welcome redemptive arc for the multi-talented Adam Deacon.

A riveting revenge riot, with gobsmacking levels of film craft, and a performance from Michael Fassbender to make your blood run cold. It’s not quite top-tier Fincher, but it comes damn close.

Some likeable performances — and solid Irish accents — can’t save a dreary parade of clichés. Pray that the Lord forgives these cinematic sins.

Monumental stuff: a story about the deadly legacy of America’s colonial sins, both vast and intimate in scope. Exceptional filmmaking, by an exceptional filmmaker.

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

A close encounter of the wordless kind, this is a smart and splendidly scary horror sci-fi, with a brilliantly brittle turn from Kaitlyn Dever.

With a brisk, biting comic tone and a nice line in righteous anger, Dumb Money skilfully picks up The Big Short’s baton for cinematic-economic takedowns.

A visually arresting new entry in the Dracula canon; if only the satire was as biting as its unlikely vampire star.

The rare teen movie that recognises crushes are never as important or powerful as BFFs — and one that marks an intriguing new direction for Adam Sandler’s Happy Madison productions.

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

Gerard Butler proves he has more in the tank than just thoughtless action with this Middle East-set thriller, which is unexpectedly interested in the people and politics behind the usual explosions.

Despite some warm performances, it’s very hard to ignore the feeling that this is largely just two hours of product placement.

Inventively animated, giddily funny, and a surprisingly authentic take on the outsider experience: it is virtually impossible not to be charmed by these reptilian bros.

Tense, stressful and savagely staged, this is a scarily good debut from YouTubers Danny and Michael Philippou. Be sure to hold someone’s hand while watching.

Sometimes the storytelling can feel like a stretch, but this is mostly a lively, well-told account of a bizarre toy craze gone wrong, and the big personalities behind it.

Madder than a bag of cats. Quentin Dupieux’s latest is even more absurd — and more pointless — than his film about a sentient car tyre. But it’s cheering to know he is still being allowed to make this sort of bollocks.

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.

Thick with sharpened scissors, and barbers with barbed tongues, Medusa Deluxe is a unique take on the whodunnit mould, and a hell of a debut from British filmmaker Thomas Hardiman.

Truly delightful. Wes Anderson leans into his trademark eccentricities for a trip to the desert that won’t win any converts but will keep the Anderson faithful content.

No Martinis in sight, but this is still an extremely watchable look at a unique naming phenomenon — with surprisingly profound results.

Indy’s final date with destiny has a barmy finale that might divide audiences — but if you join him for the ride, it feels like a fitting goodbye to cinema’s favourite grave-robber.

A film that recognises there is no single answer to questions like ‘who are you?’ or ‘where do you come from’. Stirring, constantly surprising stuff — with an arresting debut turn from Ji-Min Park.

By turns heartwarming and heartbreaking, this is a fascinating and funny twin portrait of a Hollywood rise-and-fall, and the realities of living with Parkinson’s. It only confirms what we already knew: Michael J. Fox is one of the greats.

An all-too conventional look at an unconventional man, Big George Foreman is, alas, a swing and a miss.

A gripping, well-told, incredibly watchable thriller for a new generation of TikTok sleuths — and a compelling argument to up your average screen-time.

Incompetent and mostly just quite boring, Assassin Club doesn’t even have the good grace to be so-bad-it’s-good. Rough, rough stuff.

The reach of this avant-garde comic meltdown sometimes exceeds its grasp, but this is still a consistently jaw-dropping joyride through one man’s terrible, very bad, no good week.

Beautifully animated, and about as faithful and affectionate as a corporate cash-in is possible to get — but it still doesn’t come close to the experience of actually playing the games.

Standard-issue late-stage Netflix-era Sandler stuff: not exactly good, but goofy and charming in its own boneheaded, stick-it-on-if-there’s-nothing-else-on kind of way.

A children’s film for pensioners, 80 For Brady is an absurd, silly mess. But in spite of itself — and thanks to the warm, genuine chemistry of its legendary leading ladies — it is sweet, and difficult to truly begrudge.

Ridiculously charming, immensely funny, and shot with an unusual zestiness, Rye Lane is purely joyful company — and a shot in the arm for future romantic comedies.

An old-fashioned disaster B-movie with a slickly presented sci-fi premise, 65 holds few surprises — but like Adam Driver’s resourceful, humane hero, it gets the job done. More dinosaurs, please, Hollywood!

This documentary feels too stuffed and not insightful enough to be the definitive article — but few skinny-jeans-wearing Millennials will be able to watch without getting nostalgic.

Christopher Landon dials down the blood and dials up the feels for a fun, heartfelt horror-comedy enlivened by David Harbour’s accomplished apparition-acting.

A storming debut from writer-director Saim Sadiq: emotional, tender, and quietly radical. With any luck, it will herald a new era for Pakistani cinema.

Funny, profound, weird, sad, and gorgeously constructed — Marcel is a true original, liable to melt even the most cynical heart. A very special shell indeed.

An instantly forgettable, paint-by-numbers romcom, despite the obvious charm of Witherspoon and Kutcher — worthy of watching neither at your place nor mine.

It isn’t always subtle, but Blue Jean is a gorgeously presented, stirringly performed slice of British queer history that announces director Georgia Oakley and actor Rosy McEwen as major talents to watch.

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.

As that Ronseal title suggests, Plane is rarely on the good side of trash. But at least Gerard Butler and Mike Colter offer some solid action-star appeal.

Mesmerising and mystifying, in equal measure. Enys Men confirms Mark Jenkin as one of the most exciting, original cinematic voices in the UK right now.

It doesn’t quite successfully balance its warring tones, but a winningly grumpy performance from Tom Hanks — and a winningly sunny one from Mariana Treviño — ensures for a very watchable take on the ‘giving life another shot’ subgenre.

It’s hard not to get swept up in some evocative, gorgeously staged filmmaking here. But Empire Of Light often seems a little confused about what it is trying to achieve.

It’s a simple but artfully effective debut feature from Irish filmmaker Colm Bairéad, with a remarkable, heartbreaking debut performance from Clinch, whose face betrays anxieties she doesn’t yet fully understand.

Though somewhat flawed and less artistically daring than it could be, Charlotte still makes for an emotional, humane viewing experience.

An emotional, incredibly intimate portrait of one man’s final days. Ondi Timoner’s documentary avoids the political aspects of the process, focusing squarely on the personal impact. The result is moving, humane, and cathartic.

A sweetly pitched — and appropriately unorthodox — tribute from a movie megastar son to his filmmaking legend father.

Emancipation can’t avoid the well-trodden hallmarks of slavery stories, nor offer a particularly fresh perspective on them. It’s best when it leans into other modes — and when it centres on Will Smith’s outstanding, understated performance.

A strange brew. While the family dynamics and capitalist satire work a little better than the outlandish spectacle, White Noise at least appears to herald an ambitious new phase in Noah Baumbach’s career.

A fizzy, gaudy, joyfully entertaining couple of hours. If there’s any right in the world, Rian Johnson and Daniel Craig will continue making films in the Benoit Blanc Cinematic Universe forever.

Part arthouse-Twilight, part John Hughes-ian coming-of-age romance, part Bonnie And Clyde cannibal remix, part dreamy Wim Wenders-esque road trip. This is gorgeous, gruesome work from Luca Guadagnino.

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.

Bardo sees director Alejandro González Iñárritu looking at the man in the (hall of) mirrors; the result is visually sensational but sometimes lethally patience-testing.

Another smash from Cartoon Saloon, at once heartily funny and heartfelt. With this and The Breadwinner, director Nora Twomey is now two-for-two.

Really quite something: a rare remake that only augments and enriches the original. For Bill Nighy, meanwhile, it feels in every sense like the role of a lifetime.

Like any good “Weird Al” song parody, Weird takes the music-biopic template and transforms it into something utterly absurd. The result is a polka-popping, piss-taking joy.

Solid, but understated to a fault. Causeway’s biggest appeal is seeing Jennifer Lawrence and Brian Tyree Henry act up a quiet, powerful storm.

An absurd, iconoclastic riot. Ruben Östlund’s point may be blunt — yep, rich people are bad — but his telling of it is hilariously, breathlessly entertaining.

An absolute shambles of a fantasy folly. Overlong, undercooked, and clogged with enough clichés that even its teen target audience will feel disrespected.

Well-meaning but unfortunately misjudged, this clichéd melodrama is a minor stumble for Harry Styles’ continuing conquest of cinema.

A thoughtful, meditative thesis on humanity’s relationship with nature, filmed with the kind of cinematographic beauty most fiction filmmakers can only aspire towards.

Another stunning adaptation of the classic anti-war novel: epic and horrific, in equal doses. War has rarely felt this wretchedly, desperately pointless.

A brilliant, bizarre, occasionally grotesque, horror-inflected cinematic delicacy. Sounds like a Peter Strickland film, then.

Peter Farrelly’s latest semi-serious effort is light, goofy and sometimes perilously frivolous. But like sharing a few beers with your buds, you soon warm to it.

An apt tribute to a major figure in film history. The talking heads and archive clips do the job — but hearing it told by Sidney Poitier himself is the real treat.

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.

Remember the name Nana Mensah — as an actor, writer and director, Queen Of Glory is a hugely impressive calling card.

In a crowded marketplace, new superhero movies need a lot to stand out; despite some solid work from Sylvester Stallone, it’s not really clear what Samaritan is bringing to the table.

An old-fashioned, B-movie creature-feature with some CG gloss. Beast is as predictable as anything but it’s a fun, silly, well-made film about a man punching a big cat.

A slow-burn, sluggishly surreal horror, The Feast takes its time getting to the point — but the bloody final act is something to really sink your teeth into.

The action is well-shot, and the buddy dynamic is fun. There’s plenty here that’s familiar, but it’s actually not a terrible way to spend a couple of hours with your Familiar.

If you can stomach the wobbly lessons, the sometimes clunky writing and the offensively bad Irish accents, this is a perfectly fine thing to pop your kid in front of for a couple of hours.