Olly Richards

Like most kittens, it's not always perfectly behaved, but at least this new Puss adventure doesn't have you reaching for the cinematic spray bottle. And thank goodness the spin-off does nothing to neuter the charismatic cat's appeal.

Robustly acted by a superb cast and with some beautiful moments, this follow-up to The Father nevertheless feels less mature and less sure of itself.

Old friends and new voice talent will delight kids with a never-ending love for the most undemanding animation out there. A megabucks franchise drifts on.

One of the sillier series entries in terms of plot, but still scary enough and funny enough to leave you hoping Ghostface might yet kill again.

A sturdy by-the-numbers legal drama that really belongs on the small screen.

Kosinski has again built a fantasy world that feels real to its core, but once more put most effort into the scenery and too little into the people.

Neither good nor bad. Scales dizzying new heights of okay. Aims for mediocrity... and nails it.

Judged against previous form, this is not Pixar firing on all cylinders, lacking the sophisticated comedy we've come to expect. Judged against fare from other studios, however, it's a triumph.

If it were any more manic you’d have to put it on Ritalin.

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.

A retrograde fantasy with the depth of a dressing-up box, but it’s spirited, genuinely funny and played to the hilt by an excellent cast.

Strong subject matter and a superb cast are treated disappointingly with sledgehammer subtlety.

A small, strangely sweet tale well told. But this is all about Mol, who puts in a performance that gives her a very early lead on next year's Oscar race.

Macdonald's film is a noble stab at bringing Meg Rosoff's YA novel to the screen, which sees Ronan in typically watchable form.

Efron gambles with his image, but he knows when to up the star power. It’s perhaps fitting that the film falls flat when he, playing a killer who loved the spotlight, leaves the screen.

With a 105-minute running time, making it practically a short in the MCU, it has just enough good stuff that it doesn’t outstay its welcome. But the intricate plotting that was once a Marvel selling point is now becoming a millstone around its muscular neck, keeping newcomers out instead of welcoming them in.

A much bolder, braver horror sequel than most. Except for a wispy ending, it’s a match for the first.

It’s not one of this summer’s strongest entries, but it’s fun to spend 90 minutes in this dog-eat-dick world.

A well told, beautifully acted drama that offers nothing new but a comforting level of familiarity and cosiness.

Well above the standards of your average romantic comedy, it's funny, sexy and smart. It's just not smart enough to stick to its guns to the end.

Like every one of its songs, it makes a lot of noise about nothing much and cockily straddles awfulness and greatness. It's enormously entertaining nonsense.

If you enjoy Gondry’s brand of homemade art direction then there’s plenty to delight early on, but it’s all wallpaper.

Like Queen, Bohemian Rhapsody is three parts good but not terribly exciting, and one part absolute joyful, fabulous entertainment that makes you forget everything else around it.

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.

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.

It’s lifted by some very convincing performances.

The storyline delicately tiptoes along the line of good taste and is embroidered by a first-rate cast. Still, a knockout moment is missing.