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.

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

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.

Firth is terrific in an unbelievable-but-true tale that charts a course from the ridiculous to the profound.

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

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.

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

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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

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

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.