Neil Smith

The results – achieved through small cameras clipped to nets, masts and the crew – will hook some and induce seasickness in others.

Given the short from whence it came ran a mere 12 minutes, there is a definite sense of material being extended beyond its elasticity. Yet it’s a decent vehicle for Ridley that, like last year’s The Marsh King’s Daughter, shows she doesn’t need a galaxy far, far away to demonstrate her star (Wars) power.

It’s too brief to convey the intellect and almost mystical ability that underpin Carlsen’s success.

An only moderately entertaining threequel that assumes a double dose of Carell will make up for missing Minions. It doesn’t.

Too solemn to keep us invested in its heroes’ mission or fate.

Fast, furious and based on fact, this pleasingly lateral adaptation embellishes a console-jockey favourite with familiar sports-movie archetypes.

Early promise proves misleading in a sequel that should be far better than The Da Vinci Code than it actually is.

At least until its Turning Red-ish plot becomes subsumed by a tiresome showdown finale, there’s a lot to take pleasure from here - not least the invertebrate protagonists’ amusing elasticity, which recalls the madcap fun of Tex Avery’s cartoon classics.

Saluting both America's national pastime and its oldest working icon, Curve is a solid heart-tugger that plays with a straight bat when it comes to plot, character and message.

As cozy as a mug of Horlicks inside an electric blanket, Hoffman's film couldn't offend if it tried. Age, however, has yet to wither its veterans' undimmed star appeal.

Fear falls short of fantastic yet it’s a decent effort that, like Pegg’s beard, proves to be something of a grower.

Forceful and arresting, Ayer's follow-up to "Harsh Times" and "Street Kings" sees him confidently playing to his strengths.

We’ve seen Stiller do ‘exasperated malcontent’ before, but this remains a perceptive portrait of fortysomething angst.

Pixar’s least essential franchise gets back on track with a polished but disposable threequel.

As terrific as Colman is, however, the film around her has a schematic and engineered quality not too dissimilar from Jones’ prized projectors.

A solid if far-fetched thriller that still entertains, even as it goes off the rails.

The shadow of subsequent events looms oppressively large, but Greg Barker’s film still speaks eloquently for diplomacy and selfless public service.

Neatly juxtaposes the beauty of the landscape with the enmities it engenders.

Though stronger in its more straightforward first half than in its experimental and hallucinatory second, 28 Years… still provides enough terror, splatter and suspense to satisfy.

While bemoaning how tough life has become in the made-up Palmera City, Jaime’s sister Milagro (Belissa Escobedo) remarks that "progress is not for us!" In a genre increasingly subsumed by numbing bombast, Blue Beetle’s abundance of personality might just be progress enough.

Ambitiously staged and impressively shot, Monsters: Dark Continent makes a bold stab at mounting a franchise but lacks the vision and surprise of its predecessor.

Damon’s sturdy presence just about holds it together, while Breslin shows some impressive chops as the daughter who is too aware of his failings to see him as her saviour. By the end, though, the still waters McCarthy seeks to navigate don’t run deep so much as dry – a consequence, you suspect, of trying to cram too many genres into one star vehicle.

Snyder’s passion project risks becoming subsumed by its own self-importance, but delivers bombastic mayhem and grandiose visuals by the bucket-load.

This is not, we’d wager, the film its director intended. Yet it’s worth watching, if only to see Caine and Kingsley together for the first time in 25 years.

Entertaining enough but inessential, Kingdom offers spectacle and thrills but lacks the ambition, smarts, and gravity of its immediate predecessors.

There’s no questioning Skarsgård’s commitment to his character’s descent into depravity, while the gifted Goth is fearlessly uninhibited. But just because Infinity Pool looks good on the surface, that doesn’t mean it has hidden depths.

Though closer in quality to Morbius than Venom, Kraven is far from a catastrophe and serves up a decent helping of bloodthirsty, globe-trotting action. Taylor-Johnson makes a muscular if self-satisfied protagonist in a film that would have been better off standing on its own shoeless feet than cravenly (or should that be, 'kravenly') cleaving itself to its comic book brethren.

A little more anger would not have gone amiss in this well-acted but strangely remote slice of Oscar bait