John Nugent

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.

Deeply forgettable and disposable, this is the kind of action-comedy you will feel like you have seen before. But Halle Berry and Mark Wahlberg are good fun, at least.

Paul Feig is mostly back on form with a likeable, frantic, murderous, madcap money-grab of a high-concept comedy. It could be funnier, but it rarely stops for breath.

Alien: Romulus plays the hits, but crucially remembers the ingredients for what makes a good Alien film, and executes them with stunning craft and care. It is, officially, the third-best film in the series.

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.

This is probably not the film you would expect it to be. But its unexpectedness is its biggest asset, a moving and very eccentric feathered fantasy about life, death and everything in-between.

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.