Kate Stables

Despite leaving its love affair on the launch pad, this sassy NASA romcom fulfils its mission to entertain.

IF is obviously aiming to be an E.T.-style family classic about kids and creatures on a healing journey. But its sticky sentimentality keeps it mawkish rather than magical.

Any attempt at Chariots of Fire-style emotional intensity is tanked, however, by Callum Turner’s unhelpfully laconic, low-key performance.

Adapting from Rumaan Alam’s bestseller, writer/director Esmail (creator of TV’s tech-conspiracy drama Mr Robot) paints a scarily plausible picture of how fast chaos and conflict erupt when our computer-reliant systems suddenly start to fail. But his endlessly bickering characters ultimately stop us caring whether their world ends with a bang or with a whimper.

Ravishingly pretty but low-powered, this cute and earnest fairy tale has a whole lot of homage, but not enough heart.

Taking aim at England’s ruthless ruling class rather than American misogyny, it’s a glossy, wildly over-the-top satire about a working-class student’s fatal attraction to an aristo family. Saltburn is a fiercely funny watch, albeit one that doesn’t deliver on its promise quite as well as Fennell’s debut.

The tender, tragic vibe Williams tries for via our hero’s forbidden affair with aristo soprano Marie-Josephine (a brittle Samara Weaving) feels too speedily set up to be truly effective.

A slick, dance-crammed London excursion that loses some magic when it focuses on romance.

Despite the well-honed wizarding credentials of Yates and co-scripters Steve Kloves and Rowling, the series still can’t seem to settle on a hero. Let’s hope that the prospective next two helpings can unravel whether it’s Newt’s beast-fuelled journey or Dumbledore’s quest with which we’re hitching a ride.

It’s ‘Hello Dahl-y’, as Anne Hathaway’s Grand High Witch brings camp not creepiness to Zemeckis’ entertaining fairytale.

Handsome, risk-taking Netflix remake sacrifices suspense for sweeping sadness.

Tween-appropriate action and jungle-genre gags keep this family-friendly reboot giggly rather than gripping

Ronan is the monarch of the lens in this feisty, feminist royal biopic, which favours queenly clashes over battlefield action.

Simply doesn't have the original's magic.

The storytelling can feel a bit plodding, but Jim Broadbent’s exuberant Ernest and Brenda Blethyn’s timid, upwardly mobile Ethel give the marriage a touching intimacy and warmth.

Musing on memory and machine-emotion, it echoes Eternal Sunshine of the Spotless Mind and Her. But despite its fine portraits of loss, it never escapes its stage-play origins.

Jean-Pierre Léaud effortlessly summons up the iron ruler inside the failing man.

Filled with cherry-blossom gorgeousness and sentimental homages to small-town Japanese life, it's a film of quiet, telling moments, even when big revelations surface.

The portentous narration, restless visuals and whimsical ghost characters (an unexpected Night at the Museum-style Napoleon) combine to make a thoughtful case about the inevitable interweaving of art and war.

Its attempt to cram in both origin story and follow-up adventure makes it a long haul for the target tinies.