Matt Maytum

A so-so sequel enlivened by a few inspired moments. Ralph and Vanellope are still good company, but this concept might have worked better as a series of shorts.

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.

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

This solid if unspectacular finish to the Apes trilogy features an A-game Andy Serkis and incredible VFX, but its darker excesses threaten to suffocate at times.

As sci-fi, it feels like a professionally produced hybrid that lacks its own identity. As a romance, it never fully earns your investment.

Given the weighty themes of Moby Dick, In The Heart Of The Sea doesn't have a lot going on behind the outward action. The composite parts are in fine working order; it's the sum that's slightly lacking.

Amy Schumer is a force to be reckoned with – but despite some belly laughs Trainwreck doesn’t quite transcend the romcom formula like the best of the genre.

A solid sequel that hits the right notes and entertains without ever being quite as satisfying or essential as the original.

Coming 2 America has arrived at just the right time: its eminent watchability and pleasing lack of drama (things never get too dangerous or dicey) mean it should go down well as a cheering antidote to stressful times. But it's hard to imagine anyone opting to watch it over the original in years to come. Ultimately, it’s more fawning subject than rightful heir.

First-time writer/director Ritesh Batra deserves credit for mining gently captivating drama from a pitch that could have just ended with passive-aggressive Post-its left on the office fridge.

If you loved Pitch Perfect you’ll find plenty to enjoy here because it’s pretty much exactly the same film, but there’s enough wit and warmth that it feels like a worthwhile sequel.

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.

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.

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.

Justin Lin proves a safe pair of hands at the helm of the Enterprise. Powered by a spirited sense of adventure and a nice teamwork dynamic, it’s fun, but not essential, summer viewing.

The ’toon still rules when it comes to heart, but this shot-for-shot remake is an impressively mounted, visually breathtaking nostalgia rush.

Robert Pattinson delivers another film-stealing supporting turn.

The discomfort that’s baked into the premise of The Drama is amplified by disconcerting camera moves, cuts and audio choices, as well as Daniel Pemberton’s unsettling score. But despite all that, Borgli successfully plays things primarily for laughs.

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.

It’s the most staggeringly detailed and impressively realised sci-fi location since James Cameron welcomed audiences to Pandora, and one of the few recent blockbusters to benefit from the 3D treatment.

While Batman v Superman has no trouble quickening the pulse, it’s less effective when it comes to making you care.

Fun, fleeting entertainment if you’re after more of the same, but fails to carve out any fresh ground.

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.

The biggest X-Men movie yet doesn’t scrimp on carnage, but lacks the heft of Singer’s previous instalments.

Shyamalan concludes his secret trilogy with a film easier to admire than love. McAvoy is terrific again, but Glass doesn’t quite live up to the lofty heights of Unbreakable and Split.

Like its title character, Chappie is stunning to behold and easy to like, but it’s still some way from fully developed.

A solid espionage thriller that’s lifted by its charismatic leads, Red Sparrow commits to the brutality of its subject matter, meaning it’s never easy viewing.

The latest Halloween installment is fun while it lasts, but unlike its predecessor, it’s not a classic for the ages.