John Nugent

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

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.

The 4.5 hour-plus runtime might put some off, but that massive canvas only allows for the deepest of deep dives into a monumental achievement in cinematic science-fiction. Another glorious day in the corps!

This is a bold, unusual and gorgeously realised take on the very familiar slasher template — even if it doesn’t quite live up to its innovative promise.

Kill lives up to its name, and then some: this is a breathless, ferociously gory action film, on a level rarely seen before in Indian cinema.

It purports to celebrate the pursuit of science, but this film may have single-handedly set the space programme back a decade.

An unremarkable and quickly forgettable B-movie. Jessica Alba makes a decent stab for John Wick’s particular brand of movie vengeance, but she needs better material than this.

A devastating, urgent reminder that art can be dangerous and important and political and powerful — especially in ten-inch heels.

Sasquatch Sunset is a gloriously vulgar film about made-up monsters from children’s stories — but it is also a terribly melancholy adult story about the violence of progress. What a remarkable, unique, sad little cult oddity it is.

Ron Howard’s genial account of the legendary Muppeteer plays it safe, with a fairly traditional documentary-making approach — but it still manages to be adequately inspirational, celebrational and, yes, even Muppetational.

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.