Matt Maytum

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.

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.

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

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.

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.

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.

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

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

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.

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

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

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

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

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

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.

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.

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.

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.

Robert Pattinson delivers another film-stealing supporting turn.

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

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.

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

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.

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

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.

After a visceral opening battle, endless speeches dull good intentions, and the characters lack depth.