John Nugent

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.

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.

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

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.

It follows the rules of the genre as unwaveringly as its hero follows orders, but despite that, there’s a tense, tightly constructed thriller here — and Chris Pine makes a decent play as a neo-Bourne.

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.

Like a parody of a Jason Statham film, without any of the joy that might imply. This Working Man just doesn’t work.

This is sadly unsuccessful as both an eat-the-rich satire and a schlocky B-movie. Not even Paul Rudd and Jenna Ortega can rescue Death Of A Unicorn from expiring on arrival.

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.

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

Now You Three Me, as it should be called, offers ample 2010s nostalgia, but not quite enough brainless fun lands successfully. Put this rabbit back in the hat.

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

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.

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

Tinkering with the spy-action wheel rather than reinventing it, this is a pacy, ruggedly entertaining romp, with a punchy pair of lead turns from Gosling and Evans.

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

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.

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!

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.

It doesn’t always successfully balance its comic and poignant tones, but yet another powerhouse performance from Olivia Colman makes Joyride a disarming experience.

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

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?

A heck of a debut from first-timer Shawn Simmons, and another powerful argument for A-list status for Samara Weaving. Bring on the sequel, which is obliged to be titled Miny Moe. 

This is simply more fairly generic and forgettable family fodder.

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.

Not quite vintage Black, and Mark Wahlberg is no Robert Downey Jr, but this is fast and funny enough to be worth a couple of your hours. Squint hard enough and it almost feels like you’re back in the ’90s.

Is this what Studio Ghibli’s future looks like? Probably not. But what Earwig lacks in animation elegance, it makes up for in sparky, kid-friendly adventurousness.

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.