John Nugent

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.

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

A largely painless viewing experience — but it could have been far more pleasurable.

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.

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.

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.

Its pleasures lie in the dialogue, the twists, the reveals. It all leads to a delightful Agatha Christie-style drawing room denouement, in which the rat is exposed, their best-laid plans laid to waste. Like the film as a whole, it’s deliciously, lip-smackingly satisfying.

A mesmerising, wondrous example of animation’s potential; a thoughtful allegory about ecocide and death; and an adorable ode to four-legged (and two-legged) friends. No ebbs here: Flow is the real deal.

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.

Quan is typically charismatic in a film that underserves his talents: an action-comedy with a solid amount of the former, but not much of the latter.

Funny and shocking, Get Away is not always a successful holiday-gone-wrong, but its bloody bonkers final act makes it worth the trip.

More unsubtly crowd-pleasing, Burnley-based ebullience, which gets by on its unimpeachably virtuous message — and a gloriously garrulous performance from the always-reliable Rory Kinnear.

La Diva Eterna lives in Jolie, with a performance as towering as it is understated: sad and soulful and heartbreaking. She has never been better. Brava!

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

Anyone looking for a revelatory portrait of an iconic artist might be a smidge disappointed. But as conventional as it is, this is still a strikingly well-made musical drama with pitch-perfect performances. Don’t criticise, as Dylan once sang, what you can’t understand. 

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

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.

A typically formulaic seasonal sugar rush that’s only blandly mediocre, rather than so-bad-it’s-good. But Lindsay Lohan’s romcom-dominance cannot be denied.  

A solid if fairly derivative attempt to steal Disney’s thunder. There’s enough pep and vigour here to keep kids interested, if not quite enough for the grown-ups. 

A touch less fresh than the original, but this is still bursting with energy, emotion, warmth and imagination. It knows the way.  

A feverish, quietly sad exploration of longing and infatuation. Its lack of focus stifles the experience, but Daniel Craig has rarely been as compelling a watch.

Piece By Piece’s very existence is baffling, and the Lego of it all is never entirely justified, but as an unconventional documentary of a maverick musician, it works — just about.

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.

If this is to be a swansong, it’s a fitting one: a thrillingly watchable legal thriller about truth, justice and (for better and for worse) the American way, as told by an all-American icon. 

It’s a very straightforward story, but there is no doubting the heartfelt nature of the telling — and the subject matter is unimpeachable. John Williams was the best to ever do it, and this film is a good reminder of how, and why.

An ingenious, wildly stylish new take on the body-swap movie, this deserves to be a Gen-Z cult classic. 

This is a film about nothing less than the future of America and the history of mankind. It is brash and bonkers and doesn’t always hang together, but 85-year-old Francis Ford Coppola has rarely been as audacious.

An affectionate road-trip buddy-movie, featuring an unseen depth to Will Ferrell, this documentary is illuminating, timely, and gently funny.