John Nugent

This unconventional love story — which plays like a Richard Linklater film set in the Arctic circle — is a total charmer, and will have you reaching for an Interrail ticket immediately afterwards.

A smart, compelling, pared-down thriller for grown-ups, anchored by a pair of stunningly charming performances from Chris Pine and Thandiwe Newton.

Judd Apatow’s broadest film yet is a patchy collection of Covid-themed comedy cock-ups — but a talented ensemble of performers means you’re never too far away from your next laugh.

With some gorgeously stylised animation and sharp comedy making up for its somewhat lightweight storytelling, The Bad Guys is... not bad.

A dreamlike time capsule of a historic event, told from a kid’s perspective and rendered in beautiful animation — only Richard Linklater could have made this film.

This is simply more fairly generic and forgettable family fodder.

Michael Bay’s tribute to the emergency services (which involves blowing several of them up) is noisy, messy and frequently absurd — yet still somehow his most gleefully entertaining effort in at least a decade.

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

Bruising and beautiful in equal measures, La Mif is an impressive slice of social realist drama that feels rooted in something real — because it is.

Matt Reeves’ arrival in the Bat-verse is a gripping, beautifully shot, neo-noir take on an age-old character. Though not a totally radical refit of the Nolan/Snyder era, it establishes a Gotham City we would keenly want a return visit to.

The kind of heist movie that will steal your affections from under your nose. An Ealing-esque comedy with its heart exactly in the right place, it proves a fitting farewell for the multitalented director, Roger Michell.

It’s not trying to reinvent the romcom wheel, and its final bow could be predicted by anyone with half a brain — but I Want You Back is sweeter and more sensitive than you might expect from this kind of broad mainstream romp.

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.

Looser and funnier than his recent efforts, sharper and more formally assured than his earliest films, this is Paul Thomas Anderson operating at full capacity. A master at work.

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.

As a sensitive portrait of what college is like for the awkward lonely types — and an ode to just staying up late and shooting the sh*t — Freshman Year is a funny, tender treat.

This is Bond film that dutifully ticks all the boxes — but brilliantly, often doesn’t feel like a Bond film at all. For a 007 who strived to bring humanity to larger-than-life hero, it’s a fitting end to the Craig era.

A rivetingly weird and exceptionally beautiful fantasy film that offers no easy answers but ponders the biggest questions — through myths, mysticism, and men in crisis. This is major stuff from David Lowery.

More family-friendly than for-all-ages-friendly — but lively work from the thriving Sony Animation makes this energetic Lin-Manuel Miranda musical mostly worth your time.

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’.

The most terrifying fashion film since The Devil Wears Prada, Deerskin is a deliciously ridiculous farce played largely straight. This is a jacket you will feel the benefit of.

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.

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.

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.

Army Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. When he aims for more emotional territory — like the rather trite guilt-to-redemption arc between Scott and his estranged daughter, played capably by Ella Purnell — we start to feel the weight of that running time.

Godzilla Vs. Kong mostly delivers on its promise of a big monster fighting another big monster. It just depends whether you’re willing to sit through the toe-curlingly bad set-up that surrounds it.

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.

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.