Nick de Semlyen

A fast-paced and hectic kitchen thriller that, though it tries to spin a few too many plates, pulls you deep into a fascinating, detailed world most of us know little about.

A strange hybrid of Italian neorealism and fish-based fantasy, Luca is beautiful to behold but plays it too safe to make a real impact. Still, great CG linguine.

A droll and vigorous psychological study of an everyday egomaniac, but we’ve seen Stiller do this sort of thing before, and better.

It’s not as effective as Mandy or The Mist, both of which it evokes at points. But Color Out Of Space is still an audacious and admirably out-there attempt at cosmic horror.

The lesser of 2017’s two Wonder Woman movies, this attempt to explore a complex three-sided relationship is let down by bland storytelling.

A film about a cult that might well attract a cult following itself. But it’s only moderately successful, with the early scenes hinting at a bolder, more satisfying tale that could have been.

Tough on nuance, tough on the causes of nuance, this episode has the highest velocity and lowest IQ yet. See it on the biggest, loudest, dumbest screen you can find.

It’s no masterpiece and admittedly slight at 85 minutes long. But Idiocracy is that rarest of things in this age of lazy laughs — a gutsy comedy with something to say. More importantly, it’s funny.

While all of the signature elements are present and correct, right down to the soul-shrivelling hard stare, some of the warmth and wit and dashes of brilliant eccentricity we’ve become used to are absent.

Some of the tension drains from a slow middle act, but it remains a gripping tale of sleuth-work and moral awakening.

Considering it’s the debut of one of TV’s hottest double-acts, Keanu is a slight disappointment. But there’s plenty of funny stuff, and George Michael fans in particular should have faith, faith, faith.

Over-familiar and the first half's pace is sea-sluggish but with inspired touches.

Paul Schrader's intense drama pulls out all the stops.

Not quite ‘Ready Player One Star’, but this is an odd duck: a Black Mirror-ish concept played for laughs, which ends up getting tangled up in its own code.

Kudos to Anderson and Gilroy for making a low-action, dialogue-heavy geopolitical thriller in this day and age. But aside from finally giving its star some strong material to work with, it doesn’t live up to its promise.

Some inspired grace notes elevate a thriller that's more De Palma than Hitchcock.

If you like E.T. and Bumblebee, chance are you’ll have a good time with this slightly homogenous but sweet-natured kids’ adventure.

The founding of a comedy institution shot as a madcap thriller, Saturday Night glides over the surface rather than drilling deep, but it’s largely a hell of a fun 109 minutes.

As well-constructed, unique, hardboiled and brutal as Zahler’s prior films, but this one leaves a less welcome bad taste in your mouth, thanks to its repugnant heroes and racial stereotypes. Impossible to dismiss, but hard to warm to.

An ultraviolent Korean crime film with plenty of swagger and visual brio, but still too generic to really stand out from the pack.

It’s an energetic survival thriller and terrific showcase for Lively’s chops, but iffy plotting and a sloppy climax detract from the terror.

Full-force performance form Ryan Reynolds but not as funny as it hopes it is.

Swinging between ice and space, Clooney has upped his directorial ambition and delivered a big-scale, big-hearted story, even if it struggles to match the films it riffs on.

Guy Ritchie delivers a nice surprise: an LA neo-noir with high-voltage action and an ice-cube-cool Statham. If it gets a bit tangled up in its time-hopping reveals, it’s largely 
an enjoyable, rattlesnake-mean thriller.

This is maximum-gloss entertainment with its fair share of tricksy rug-pulls. But, like one of the neon-coloured cocktails Smith drinks in it, it’s more of an immediate rush than something you’ll remember in a year.

Some summer anti-programming arrives in the form of a highly talky, at times upsetting prison drama — think Fortress meets Limitless. You can feel the strain of its expansion from novella form, but it’s just about worth a visit.

Scruffy and overstuffed, but contagiously good-natured. And frankly more films need to feature showdowns at abandoned alligator-themed amusement parks.

The concept of combining Adam Sandler and horror is not a bad one. But this is no Abbott And Costello Meet Frankenstein. Instead, Hubie Halloween inspires mild dread for all the wrong reasons..