Kate Stables

At the heart of both movie and boardgame is that deep sense of community and camaraderie, which bonds the quartet of misfits nicely.

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.

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.

Garland’s bold, original version of what horror can be when it swaps tired old tropes for visceral, visionary thrills is an absolute game-changer.

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.

Zellweger knocks it out of the park, lighting up this punchy and moving late-life biopic with big-hearted, big-voiced panache.

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

This classy, female-centred Omen prequel is devilishly good at keeping its nun on the run.

Theron is gobsmackingly good as the real-life screen queen determined to unearth the victims of Fox News’ most powerful predator.

Gusman is sullenly magnificent; you can’t fault the movie’s realism either, shot in an actual prison and soberly reflecting some acute social problems. But the movie’s muggy pace makes you feel that you’ve served every day of Julia’s sentence with her.

In the exquisite gunfight-style tension of the real interview, Gillian Anderson’s uncannily accurate portrayal of Emily Maitlis (that cocked head and laser stare) comes into its own. Yet even she is outclassed by Sewell’s narcissistic but oddly charismatic Prince Andrew.

Exploring how a one-time surrealist art muse fought to report atrocities, this handsome but rather conventional biopic showcases a tip-top Winslet performance, but at times meanders like a weighty Wikipedia entry.

It all adds up to a genuinely affecting, Seabiscuit-style underdog tale, which will get you cheering dogged Trudy past 10ft waves, a shoal of stinging jellyfish, and a plague of obstructive men. That salty liquid on your face isn’t sea water – it’s tears.

Besson is at his balls-out bonkers best in this genre-scrambling, mind-expanding exhilarator.

Simply doesn't have the original's magic.

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.

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

It’s hands-down Disney’s best and punchiest prequel yet, one whose playful perils make for a deliciously rowdy ride.

Hugely charming if somewhat cluttered, Burton’s horror-spiked YA freaks-and-a-geek fantasy proves a Home run for Asa Butterfield.

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

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

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

A playful, punchy tale that spills the beans about those Babies. Zach Galafianakis’ tantrum-prone tycoon transfixes.

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.

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

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.

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.