Matt Maytum

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.

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.

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.

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.

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.

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

Sharp social commentary and slick genre trappings make for thought-provoking entertainment, even if it never entirely hooks you.

An intriguing concept is executed frustratingly poorly. On the Shyamalan spectrum, it’s more The Happening than Unbreakable.

As much as Oygen pulls you along in the moment, it doesn’t leave you with anything that’ll particularly linger.

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.

A spirited and likeable Christmas musical that boasts terrific songs and looks the part, Jingle Jangle covers a threadbare story with just enough tinsel.

Robert Pattinson delivers another film-stealing supporting turn.

Pete Davidson lacks the charm to make an insufferable protagonist likeable.

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

A so-so Christmas romance undercut by some baffling choices, musically and narratively. A wasted opportunity.

An uninspired and unnecessary sequel that won’t leave you spellbound. There’s neither enough Maleficent or genuine magic to make it worth a revisit.

Two immensely enjoyable central performances and some of the best race sequences yet filmed fuel an otherwise standard sports movie.

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

Impressive VFX and bursts of action can’t mask the fact that this is a tonally confused start for a sci-fi franchise hopeful, made up of scrap parts you’ve seen put to better use elsewhere.

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.

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.

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