Olly Richards

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

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.

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.

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 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.

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.

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.

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.

If the film ends up somewhere a little too neat, Comer makes the journey always worthwhile.

This has the warm, cosy sense of a film that, even with its few flaws, could very easily become regarded as a festive classic.

The story has a good dose of hokum, but the execution has an oppressive and sometimes feral quality that doesn’t just make the hairs on your neck stand up, it puts your whole body in fight-or-flight mode. An extremely impressive first film.

A gripping, moving, sometimes frustrating portrait of a man consumed by a need to speak up, even as he wonders if anybody’s watching.

Dressed like a Primark sale rail and flirting with whoever’s nearest, he brings a camp energy that makes little sense for his character (a man who simultaneously cares about nothing and will endure the logistics of arranging a multi-vehicle attack on a dam), but provides a wildly entertaining contrast to the beefy machismo of most of the cast.

It may sound dismissive to call a film ‘nice’, but that’s exactly what this is. It’s beautifully produced, entirely uncynical niceness. If you’re after just a lovely time, come on in and put your feet up.

The Outfit follows a pattern set by countless gangster flicks of the past, but its freshness is in the intelligence and surprise of the script. Like a well-made suit, it’s not old-fashioned — it’s classic.

The things Sorkin is criticised for — grand speeches, an earnest streak — are the things that make his work sing when the context is right. The drama of this legendary TV couple gives him plenty of material to do some of his best work.

Tom Hanks is more than enough to make this almost one-man show thrilling and heart-breaking. Prepare to weep. Doubly so if you’re a dog person.

It’s always fun, inventive and full of charm. If you have any concerns that Jason Reitman’s film might sully the legacy of his dad’s greatest creation, there’s nothing to be afraid of.

When Gunn took on Guardians Of The Galaxy, he turned nonsense into gold for Marvel. By giving The Suicide Squad the same sense of mischief and an equally surreal streak, he’s done the same for DC.

Released at any time, The Platform, packed with ideas and moments to be endlessly debated, would have all the makings of a cult classic. Released in 2020, it is an astonishingly apt metaphor for our times.

Coogan and Reilly’s performances are among the best either has ever given. This film, which pays wonderfully funny tribute to two comic legends, richly deserves them.