Nick de Semlyen

Essentially a Split sequel with an Unbreakable topping, this is weaker than either of those films but still has a decent amount of entertaining and creepy sequences, most of them due to McAvoy’s high-commitment performance.

The action is sharp and imaginative, and Jordan strongly establishes his action-flick credentials. But story-wise it’s all very familiar and more than a little dour.

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.

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.

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

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 lot more entertaining and irreverent than the film’s grandiose subtitle, “Courting A Legend”, suggests — even if it’s hardly as trailblazing as the man to whom it pays tribute.

With hard-boiled dialogue, sleek God’s-eye views of the city and serious talent in supporting roles, you’re not given a chance to get bored. Even so, an air of overfamiliarity hangs over proceedings.

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.

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

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

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.

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.

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.

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.

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

A film based on a game inspired by films that are much better than this one, Uncharted is watchable enough but could have been so much better.

The premise promised Regency class and Romero shocks. The results, though, are only intermittently entertaining, and a better adaptation of Austen than a monster mash.

Verdict Spies, terrorists, remote-controlled bombs… Unlocked’s components are all too familiar, and it doesn’t put nearly enough effort into making them feel fresh.

The film strains in two different directions, half trying to stay true to its based-on-fact roots, half wanting to ditch all that and become a ridiculous farce.

A microwave meal of a kid’s film, consisting of tired tropes and bland platitudes. This particular village should have stayed lost.

An earnest stab at crunching a brilliant breezeblock of a novel down to film-size, but one that fails to pay off. Frankly, you might have more fun watching a pigeon for 149 minutes.

Overlong and underpopulated with gags that really land, there's still moments of mirth for devotees of the original.

A well-meaning look at the issue of arranged marriage, garnished with some Hollywood star power, but it’s too meandering and sluggish to grip.

Messy and unlikeable.

Some outrageous, if hardly original, twists eventually enliven a dreary plot. But even with Margot Robbie in full scheming-vixen mode, Terminal feels interminable.

It has a strong, game cast but this is karaoke filmmaking, trading on nostalgia rather than breaking new territory. Affable but forgettable.

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