John Nugent

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.

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!

With some genuinely shocking moments, this is a fascinating, frightening —  if frustrating — account of masculinity in crisis.  

Van Sant’s previous historical fictions have been more incisive, but this is a tense crime thriller, with a solid new addition to Bill Skarsgård’s rogues’ gallery of scumbags.

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.

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.

Guy Ritchie’s defiantly ahistorical romp is part derring-do spycraft, part bullet-riddled action, part impish comedy, and all-parts silly.

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 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 thinner than the paper it’s written on, and full of questionable choices — but in a switch-your-brain-off kind of way, this will adequately activate your heist glands. Light the fuze!

The Electric State loses some of the quiet profundity of the original text, but as a breezily watchable retrofuturistic jolly, it has just enough juice.

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.

Jacques Audiard’s outlandish musical thriller is a little jumbled, and a little misjudged in the treatment of its characters. But you can’t doubt its audaciousness.

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.

Army Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. When he aims for more emotional territory — like the rather trite guilt-to-redemption arc between Scott and his estranged daughter, played capably by Ella Purnell — we start to feel the weight of that running time.

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 unorthodox romance that will leave you sweaty-palmed and tearful, in equal measure. It doesn’t quite reach the heights it could, but there’s a hell of a view at the top.