Olly Richards

The animation initially looks like something produced on an early Nintendo console, but what it lacks in finesse it more than makes up for in feeling. It makes sense of how a small child sees the world, saturated and magical but not yet subtly detailed.

Simpler, but also bolder and bloodier, than its predecessor, The Bone Temple is a more-than-worthy sequel.

Great houses, shame about the plotting. The sort of glossy nonsense you might happily half-watch on a lazy Sunday.

A delightful premise never fully comes to life in this sweet romcom, which is a real shame because it gets off to such a strong start.

It cleverly pulls at the supposed laws of the series in a way that makes it more interesting without diluting the fearsome nature of the title character. Trachtenberg is making the franchise richer with every instalment. And if the film’s final shot is any reliable indication, he’s far from finished.

There’s still plenty here to make you shiver, but in letting events out of the basement this sequel has also released much of the tension.

A trippy mix of horror, thriller and sports movie, Him is a very wild ride. A launching pad for its director and lead, and a shining moment for Wayans.

The usually distinctive filmmaker – Black Swan, The Wrestler, Mother! – is in unflashy form for this solid, starry but not very memorable thriller about one man’s very bad night.

There are almost endless holes you could pick in its logic and storytelling, but it gives you few reasons to want to. This Friday’s freakier, but it’s kind of… funner too.

A really good, dumb comedy can be a joyous thing, and this is a really good, dumb comedy.

In live-action mode, Lilo & Stitch has some of the charm of an ’80s Amblin movie, like E.T. or Gremlins.

This movie does exactly what a horror reboot should, taking the best bits of the original and heading in a smart, inventive new direction. There’s minimal reliance on nostalgia. It’s daft as hell and a heck of a good time.

This is far from the disaster that was predicted. It’s cute and cheerful, but its efforts to make Snow White both respectful to the original and relevant to a new audience leave it stranded in some smudgy grey areas.

This is very effective, experimental filmmaking – and at 85 minutes it never becomes indulgent – and the most exciting thing Soderbergh’s done in quite some time.

It’s a moving, challenging watch.

It’s a tremendously enjoyable type of horror, full of giggle-inducing jump scares, but sending you off with some intelligent questions to gnaw on.

It’s third time unlucky for a series that still hasn’t worked out what it wants to be. The Last Dance can’t find its rhythm.

A gift of great storytelling, this is the best film Chris Sanders has made.

A smart, tragic take on just how dark the American Dream can be, with award-worthy work from Stan and Strong.

A turkey in crow’s clothing.

The film is at its best when it’s sitting just with them, not doing much, not trying too hard to be eccentric; just shooting the breeze and being cheerfully weird.

There are strong shades of Bo Burnham’s 2018 movie Eighth Grade here. That’s not to call Dídi derivative at all, but to say that it nails that high-school yearning to be cool and complete lack of any idea how to get there, making things worse for yourself with every attempt.

Despite a few early narrative bumps, it’s hard to imagine what more you could want from a movie with this pairing. Marvel has found its mojo again.

All involved have done a solid job in executing what most fans likely want from a very belated Beverly Hills Cop sequel. This is not an action movie with the slickness or invention to take on any current blockbuster franchise. It’s cheerfully old-fashioned and easy. It feels like you should be popping open a VHS case to watch it.

Sasquatch Sunset’s mood sits somewhere between the queasy surreality of Jim Hosking’s The Greasy Strangler and the winsome daftness of Daniels’ Swiss Army Man. It’s easy to see this following in the (big)footsteps of those and acquiring its own cult following.

Through this decade so far, Pixar’s films have held great ideas that haven’t quite reached their full potential. This is probably its best film since Coco, and best sequel since Toy Story 3.

Bertrand Bonello’s sci-fi epic-cum-period-romance-cum-stalker-thriller is absolutely teeming with ideas. That they don’t all come together in an entirely convincing way doesn’t spoil the overall effect of something thought-provoking, very handsomely made, and appealingly weird.

Its brainless brawn is again pretty entertaining, until the credits roll and you can instantly forget the whole thing.