Lou Thomas

Lovers of the currently unfashionable historical epic, however, mostly aren’t eager to see Napoleon for the love story at its core. What they want is a battle – blood and thunder writ large. On this front, there’s little in modern cinema to equal what Scott and his team manage.

A riot of sex, murder and intoxication presented with an appropriate aural and sonic ferocity.

One might question the need for yet another Oasis doc, but in this case the end the effort is justified, especially if you came of age to these very tunes.

Sweeney is excellent as the whistleblower who slowly but surely realises the game is up and creeps from poised confidence to frightened, tearful regret. Hamilton and Davis are also very believable as agents in complete control.

Its rich tone of regret, guilt and unspoken malice comes across in careful direction from Tim Mielants, Frank van den Eeden’s shadowy cinematography and subtle, measured performances across the board.

It’s honest and unflinching, tough but not witless and, for the most part, an immersive, overwhelming sensory experience. It should be compulsory viewing for warmongers of all ages and young conscripts.

Brilliant and unmissable.

With a uniformly impressive cast, spectacular scenes of carnage and the unshakeable feeling that anything could happen, this zombie franchise is as thrilling as it’s ever been. It’s well worth taking a trip to The Bone Temple.

This take on Nosferatu may be essential viewing for fans of gothic horror but must be recommended with caution for everyone else.

Hardcore horror fans should expect less of a full-on festival of bloody carnage and more a new-school chiller in line with the first two films by Ari Aster (Hereditary, Midsommar) or Jordan Peele (Get Out, Us). Regardless: for a top-ranking summer fright from Down Under, don’t miss Talk To Me.

It’s easy to question the motives of pop stars who get behind a cause, but the end-product here is a joyful night for people who’ve experienced unimaginable hardship. Cynicism can (and should) be put aside for now.

It’s best to think of Belfast as a great, crowd-pleasing coming-of-ager set in the city, rather than a serious, nuanced depiction of the conflict. Branagh’s tale leans heavily on the autobiographical and it’s about feelings rather than facts.

Highest 2 Lowest’s action moves with pace and the dialogue is full of the rhymes and hilarious street slang Lee typically peppers his films with. However, it doesn’t feel shot and cut with his usual vitality.

The Killer is an entertaining, crowd-pleasing banger that stands up to multiple views. It’s a superior hit-man romp that doesn’t outstay its welcome from a director who misses the target less than his protagonist.

Lynne Ramsay directs the hell out of this intense, twisting story.

Williams and Maskell have delivered an effective, savage revenge thriller – as long as one’s expectations are moderate.

Among the best horror films of the year.

Garland, having dipped with his interesting-but-flawed puzzler Annihilation, returns to the form of the excellent Ex Machina here with a shocking, hilarious and terrifying take on grief and masculinity at its most toxic. Thrilling stuff.

You won’t catch a more satisfying horror film this year. Seek it out.

To give Gunn his due, he crafts a world that’s as close to the DC Comics Superman that we’ve ever seen, with characters like the shapeshifting Metamorpho (Anthony Carrigan) adding real texture. It’s a promising start-point to his plans for the DC Universe.

There’s ultimately lots to love about Final Reckoning and if this is the end, Cruise and Co are finishing on a high. It’s just a shame it takes so long to get going.

Action and acting, then, all good. Unfortunately – and bizarrely, given screenwriter David Koepp co-wrote the original Jurassic Park among other great blockbusters – the dialogue throughout Jurassic World Rebirth is very patchy, as if his first draft script made it to the screen.

It’s enjoyable enough. It’s also a real treat to watch a Marvel film that doesn’t depend on viewers having seen a dozen other films and TV shows.

Meet Me In The Bathroom makes for a lively snapshot of a very exciting period in rock history. Veterans and newcomers alike should check it out.

A deeply sad movie about thwarted love, The History of Sound is essential viewing.

The Lost City isn’t cutting-edge entertainment, but it is a decent action film boasting a great cast and some good jokes, without a superhero in sight. That alone is cause for recommendation.

Despite its superficially dark material, Wolfs isn’t meant to be difficult or challenging, it’s just an enjoyable time hanging out with some chilled, reassuringly handsome gents as they get to the bottom of their not-a-murder mystery.

It’s a lively, enthralling tale with some particularly emotive scenes in the final act that are bound to cause a tear or two. Some will ask why make this film at all? The answer should be, why not?