John Nugent

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.

The film is strongest when it remembers it’s a Tim Burton film and has licence to get weird. While it’s slicker and less homemade-feeling than the 1988 vintage, there are still flashes of B-movie brilliance.

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.

There’s much to chew on in Cherry, and not all of it works. But a never-better performance from Tom Holland, and some bold directorial choices, make it a mostly compelling watch.

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.

At once awe-inspiring, jaw-dropping, eye-rolling and head-scratching, this is animated cinema on a scale rarely seen. It doesn’t always hang together, but on its box-office achievements alone, Ne Zha 2 has earned a place with the immortals.

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.

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.

Uneven, immature and a little derivative — but entertaining performances from Olivia Cooke and Alec Baldwin keeps Pixie watchable.

Adam Sandler goes back to his Happy place for this unashamedly stupid sequel. What it lacks in precision or panache, it makes up for in sheer goofy, golf-y geniality.

A solid bit of high-concept B-movie fun, establishing Josh Hartnett as a credible action hero, and James Madigan as a genre director to watch.

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.

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.

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.

Moonfall is precisely what you’d expect a film called Moonfall to be: deeply, defiantly, sometimes exasperatingly daft. It’s Roland Emmerich on apocalypse-autopilot.

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.

There’s trouble in this paradise: bleak without much of a point to make and bloody without any particular reason, this is an odd attempt at satire that takes a fascinating slice of real-life stranger-than-fiction history and somehow makes it less interesting.

It’s nonsense — but at the very least, well-meaning nonsense.

Despite its wild premise — Chris Pratt goes to the future to fight aliens! — and considerable talent, The Tomorrow War is mostly just bloated blockbuster business as usual.

Spiral makes an admirable stab at defibrillating an old franchise — but ultimately wastes its stars, caught in the same bear-trap of a formula that befell earlier sequels.

This is not the messiah. Nor is it a very naughty boy. There was an opportunity for a truly original spin on the so-called Greatest Story Ever Told here, but The Carpenter’s Son pulls its punches to make a rather rote horror that amounts to little.

Despite some dazzling animation, this is a mess of celebrity and corporate cameos that fails to capture the weird spirit of the ’90s original, or the ’40s heyday — more ‘suffering’ than ‘succotash’.

A disappointment. A premise with much promise has been turned into a bland retread through YA’s most familiar faults — despite some bold efforts from Holland, Ridley and Mikkelsen.

This collection of tired jokes is enough to prompt the question, “What day did the Lord create Spinal Tap II: The End Continues, and couldn’t he have rested on that day too?”

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.

Hugely impressive musical and dance performances from the two young men playing Michael Jackson cannot shake off the uncomfortable fact that there is an entire other side to the pop star’s story which is entirely conspicuous by its absence here.

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.

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.