Nick Levine

Because it takes too long to become truly gripping, it ends up overstaying its welcome during the last few big reveals. Still, there’s no denying it contains enough intrigue to launch the franchise that Vaughn is already planning.

Directed without restraint by Ridley Scott, it’s a bewildering blend of high fashion, high camp and high tragedy that’s chaotic but also wildly entertaining.

Wonka isn’t quite an immaculate confection, but it’s moreish enough to become a future festive favourite. You’ll want to tuck right in.

Thankfully, if you can suspend your disbelief, Heart Of Stone is plenty of fun and far slicker than a lot of recent Netflix content. It almost goes without saying that the ending leaves room for a potential franchise. And after two hours of near-constant japes and scrapes, you’d need a heart of stone – or at least a high entertainment threshold – not to think “Oh go on then, why the hell not?”

This feature-length documentary makes for affecting viewing because it tells the duo’s incredible success story through the lens of their rock-solid friendship.

As The Super Mario Bros. Movie progresses, it’s hobbled by a perfunctory plot and some lazy creative choices.

Creed III isn’t quite a knockout, but only a fool would come away questioning whether this seasoned slugger of a franchise has more rounds left in it. Bring on Creed IV.

This could easily have smacked of trying too hard, but Johnstone really seems to have pulled it off.

Lydia Tár isn’t a real person, but this riveting film about the corrupting effects of power and privilege will make you think she is. That’s partly because writer-director Todd Field has created a terrifyingly believable character and world that she presides over.

I Wanna Dance with Somebody isn’t as illuminating as it could be, but it still feels like a fitting tribute to a brave and complicated artist with a genuinely incredible gift.

Throughout, Guadagnino audaciously but successfully balances some gut-wrenchingly grim and gory scenes with moments of genuine tenderness.

Sheryl is brisk but pretty comprehensive.

Bros is a cut above most romcoms for one simple reason: it’s funnier.

The Girl with a Bracelet is a clever, relevant film which makes you question the way society expects young women to behave.

Though Lou is derivative and schematically plotted, it’s gripping enough to get away with it, thanks largely to Janney’s committed performance.

Honestly, this film is so terrible it makes the 50 Shades of Grey trilogy look like high art. The review’s lone star is for the location manager who criss-crossed Europe to find all the blandly luxurious pads that this soulless nonsense unfolds in.

As vampire movies go, this one doesn’t slay, but it has enough thrills, spills and playful charm not to feel like a grave mistake.

For a film about feats of next-level bravery, Thirteen Lives is a little too cautious to really soar.

Purple Hearts is crushingly predictable and never quite rings true, but it’s not completely hopeless.

Despite its flaws, George Michael Freedom Uncut ultimately succeeds because the man himself remains so compelling.

You won’t come away feeling as though Shania Twain has bared her soul, but you will have renewed respect for the talent, vision and hard work that made her an era-defining artist.

The Bob’s Burgers Movie is substantial enough to justify its 102-minute runtime and manages to supersize the show’s appealing recipe without diluting its flavour. It’s a meaty treat that fans and newcomers alike can devour with relish.

You won’t leave a-ha: The Movie wanting to hang out in the band’s dressing room, but you will come away with a renewed appreciation for the intense and sensitive men who made melancholy pop gems like ‘The Sun Always Shines On TV’ and ‘Hunting High And Low’. Glorious as it is, there’s a lot more to this band than ‘Take On Me’.

In a way, it’s a shame the film ends with a basic boilerplate listing Lopez’s record sales, box office receipts and social media following. By this point, Halftime has done more than enough to show us that its subject is very much the real deal.

Don’t Make Me Go is a strange beast: a film that feels a little predictable until it snaps and stretches credulity to the limit. Thankfully, Cho and Isaac’s affecting performances are a lot more nuanced than the writing.

It’s hampered by an execution that’s flat, fussy and self-conscious. Only the most hopeless romantic will be able to invest in these characters for very long.

The film’s emotional beats don’t hit as hard as its musical ones.

It all adds up to a film that’s brave, fascinating, grim and irreverent: in other words, vintage Verhoeven.