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.

Tom Hanks, his dog and a robot charm in a post-apocalyptic road movie assembled with care and a light touch.

Even a disappointing villain can’t detract from a bold, satisfying climax to Daniel Craig’s time in the tux.

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.

Natasha Romanoff’s long overdue solo movie delivers action and emotion in a rousing addendum to Scar-Jo’s stellar MCU story.

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

The Mitchells Vs. The Machines is as irreverently funny as 21 Jump Street and The Lego Movie. And, like Spider-Verse, it has a unique visual style that rewards close inspection.

A small film that hits big, Sound Of Metal is a gem you’ll want to bang the drum for.

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 bold, entertaining riot that captures the manic energy of its lead character and ushers in a gang you’ll want to join.

Sam Mendes audacious WW1 epic is a sensational technical achievement, grounded by George MacKay’s gritty intensity.

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.

Daniel Craig is on fine form leading a killer cast in Rian Johnson’s boisterously enjoyable murder mystery. All the evidence points to a winner.

A fleet-footed and boisterously enjoyable Dickens adaptation that breathes new life into a well-worn story. A winning Dev Patel leads a highly amusing cast.

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

Midsommar features a standout performance from Florence Pugh and an expertly assembled atmosphere of dread, even if its lacks the propulsion and all-consuming terror of Hereditary.

About as funny and charming as superhero movies get. Expect it to make household names out of its title character and leading man.

A satisfying standalone launch for Marvel’s latest superhero combines sci-fi action with ’90s nostalgia. Overcoming minor stumbles, it ultimately soars.

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 joyful, trippy new incarnation of Spider-Man that you didn’t know you needed, brimming with wit, soul and jaw-dropping visuals.

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.

Paul Feig makes a slight gear change for a slick thriller that’s best enjoyed with a martini in hand.

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

A low-key charmer, this lovingly-crafted, melancholic movie is a big, comforting hug of a film.

With inventive action and a gag-rate that bests most comedies, Ant-Man and the Wasp is the kind of slick entertainment you’ve come to expect from the MCU, with Rudd and Lilly’s winning double act at the centre.

A tour-de-force turn from Toni Collette powers one of the most affecting horrors in recent memory. Genuinely unsettling in a way few genre efforts are: you’ve been warned.

The Avengers latest stand feels well worth the wait. It’s not perfect, but it goes to a place most tentpole movies wouldn’t dream of, while retaining the scale, excitement, and humour you’ve come to demand from an MCU movie.

A short, sharp shock of a thriller that demonstrates the versatility and range of both Soderbergh and Foy.

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.

Claflin and Bettany stand out among an impressive ensemble in a harrowing, powerful WW1 drama well worth enduring.

All the signs pointed to a hit chiller: great cast, a director with fantastic form and a celebrated Jo Nesbø novel to draw from. So it’s a huge shame, then, that The Snowman is a bit grey and slushy when it should have been cool and crisp.

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

Cruise is on top form in a based-on-fact thriller that overcomes its familiar trappings with audacious details and flat-out pacing.

If the formula feels familiar, the girls’ personalities obliterate any chance of tedium, with Broadway producer-turned-director Amanda Lipitz providing sensitive insight into their home lives while capturing the toe-tapping with joyful aplomb.

Theron is totally badass in a relentless thriller that never takes its foot off the gas. Bold and brash, with some of the year’s most bruising fight scenes.

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.

By now you know exactly what to expect from a Transformers film: undeniably epic action spectacle at the cost of character, logic or genuine drama. Predictably formulaic.

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.

A handful of sparky leads can’t help this superhero reboot find an appropriate tone. No no, Power Rangers.

A delightful live-action recreation of a familiar fable. You’ve seen it before, but its spirit and pizzaz are pretty much irresistible.

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

Rogue One might trade heavily in nostalgia but it's bold enough to take risks, and will leave you stirred, fired up and raring for more. Now, if only there was a follow-up we could go away and watch immediately…

It never quite comes alive, but what disappoints most is the acting: McGregor coasts on his natural charm, but Jennifer Connelly (as Levov’s trophy wife) and Dakota Fanning (as his unruly daughter) are wildly OTT.

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

The flow of the date doesn’t roll as smoothly as Linklater’s best walk-and-talkers, but that doesn’t mar the effectiveness of this refreshingly smart date movie.

An intelligent, eloquent and stirring sci-fi that grips from start to finish, Arrival is up there with the year’s best movies.

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

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

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.

Simple but effective, The Good Dinosaur doesn’t reinvent the wheel, but it’s still damn fine family entertainment. Slow to get going, it comes into its own when its heroes buddy up.

Jennifer Lawrence shines once again in a fitting send-off for cinema’s best YA franchise. The hefty action and high stakes outweigh any shortcomings.

As Peter Pan should be one of the ultimate wish-fulfilment heroes for kids, it’s baffling to see how he’s been appropriated for such an awfully middling adventure.

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.

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.

Laughs are few and far between in a comedy that proves the combo of talented performers and an intriguing concept are no guarantee of success. Dispiriting stuff.

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

Dakota Johnson is a revelation in an adaptation that’s better than it should have been. But with the sex scenes and the drama lacking the required heat, it’s ultimately unsatisfying.

That rare breed of blockbuster that emphasises character over spectacle and slow-burn tension over relentless action sequences, Godzilla rewards patience with strong performances and sparing, spine-tingling set-pieces.

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.

With a string of gratifying action sequences, and a breakneck pace leavened by a frequently witty script, The Winter Soldier stands alone as a solidly entertaining blockbuster.

Ridiculously funny and meticulously detailed, The LEGO Movie is far better than a toy tie-in movie has any right to be. Despite a couple of dips, you’ll be grinning throughout.

With the entire cast on their A-game, depths are found in characters that could’ve easily been caricatures.