Matt Maytum

If you meet Wuthering Heights on its own terms and give yourself over to Fennell’s bold vision, it’s hard not to get swept up in this gothic tale of toxic attachment.

The clarity, dynamism and sheer scale of the action is near enough unparalleled, and it’s hard to argue you don’t get your money’s worth. Still, Cameron is going to have to think outside the (Pandora’s) box and change the game for any future installments.

Director Joachim Rønning (the surprisingly decent fifth Pirates Of The Caribbean) is a safe pair of hands. He doesn’t deliver any massive surprises but confidently marshals an entertaining instalment that sits comfortably alongside its predecessors.

While The End Continues obviously won’t be talked about in such hallowed terms in four decades’ time, it thankfully doesn’t sully its own reputation, and it sure is pleasant to be back in the company of the band again.

Compared to the average family-friendly animation, this is very much an upgrade.

It’s not the sort of family film you’ll wax lyrical about, but there’s enough colorful, chaotic, kid-friendly fun to amply entertain.

The MCU’s self-appointed messiah might not have pulled off a complete course correction, but he delivers an action-packed, gag-stuffed crowdpleaser that gives the franchise a much needed lift. Jackman is worth his weight in adamantium.

A solid performance by Quasem and an impressively gruesome early leg-munch aren’t enough to earn Something in the Water anything close to a recommendation. Avoid like a fin in a bay.

It never feels particularly different to what you’ve seen before, and doesn’t push any boundaries visually or narratively in the way its DWA stablemate Puss in Boots: The Last Wish did.

Writer/director duo Sam and Andy Zuchero take an admirably big swing with their feature debut Love Me, but it never engages emotionally in the way this kind of material needs to.

You can at least say for the film that it’s clearly targeting a surreal, stoner vibe. But even cutting it that slack, there’s barely anything here to recommend.

This is an acutely observed, well-judged, and original take on a popular genre. That it’s also a directorial debut is extremely impressive.

Ultimately, though, the combination of handsome visuals and assemblage of sketchy moments leave it feeling more like a museum piece, offering impressions over a gratifying narrative experience.

A vaguely promising premise is squandered in a convoluted neo-noir set-up.

Despite a typically strong performance from Blunt - and a fun, if one-note, Evans - neither the rise nor the inevitable fall ever feel all that compelling. It lacks the sheer audaciousness of the similarly structured The Wolf of Wall Street, and doesn’t come close to the energy of The Big Short, which whipped up furious indignation while being massively entertaining at the same time.

As far as sports movies go, there’s no reinventing of the wheel. All the requisite beats are hit, albeit with self-deprecating humour and knowing genre references. But within that familiar framework, the underdog story is very effectively delivered, thanks in large part to a charming bunch of supporting characters, and a consistently funny script by Waititi and the Inbetweeners’ Iain Morris.

It’s a welcome spin on the once-dominant genre that now struggles for oxygen. It’s also less brutal a viewing experience than Mortensen’s punishing directorial debut, with plenty of shoots of hope, and an abundance of natural beauty.

Miyazaki’s first film in 10 years proves that he’s still a master of the medium. And if it’s his last film, it’s a fine one to go out on.

This is a challenging and troubling film that asks a lot of the viewer, before sending them away with a great deal to consider. There won’t be many films this year that you’ll turn over more thoroughly in the hours, days, and weeks that follow.

Told with economy, and evading any easy genre classification - it’s part romance, part fantasy, part thriller, and more besides - it’s a very moving piece of work, and a testament to the power of love.

As the film glides towards its climax, Song dismantles your heart with the cool proficiency of a bomb-disposal expert.

Turtle Power is back, thanks to a potent combo of winning humour and gnarly animation. Cowabunga!

Michael B. Jordan keeps the Creed formula feeling fresh with a confident directorial debut that's also 2023’s second threequel supercharged by a Jonathan Majors antagonist.

Wells has crafted a feature that gets its hooks into you before you’ve had a chance to work out what it’s doing.

Despite a handful of high points and Raimi flourishes, Strange’s second solo film rarely feels like the best possible outcome of this confluence of director and character.

A truly distinctive epic, blending brutal violence, powerhouse performances and otherworldly imagery into its volcanic rampage of revenge. Unmissable.

Debut director Mimi Cave and screenwriter Lauren Kahn maintain a sure grip over the tonal shifts, ensuring the messages don’t drown out the entertainment factor.

Spielberg lovingly restages the classic musical – but while the songs still soar, it feels more indulgent than essential.