Matt Maytum

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.

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

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

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

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

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.

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

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 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.

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

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