Olly Richards

This is everything you might expect of a Baz Luhrmann biopic. It’s brash, loud, maximalist, and certainly never boring, but also keeps its subject at a distance, enthralled by his glamour not his soul.

A dazzling experiment that paid off immensely, this is cinematic pleasure at its purest. One caveat: If they ever make a sequel, we’re taking two stars back.

Tonally a complete departure from the rest of the series, which is at once laudably brave and disappointingly unfunny.

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

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

The golden-larynxed franchise graduates with a merit.

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

Okay, so it's not exactly a groundbreaking advance from the team behind "Ice Age," but with its kaleidoscope of colour and heaps of humour, you'll be charmed.

If it’s surprisingly sweet-sounding subject matter for Albert Hughes’ first solo film, he treats it with respectful seriousness. It’s a family movie but one unafraid to show some very sharp teeth.

The horror-lite element gives it a boost, with Branagh’s direction conjuring up a few jumps, but this gently entertaining mystery could have used far more scares. If he’d gone the full leering Hammer Horror, rather than tastefully occult, this could have been a scream.

Heroes in a half-arsed shell.

A solid adaptation, even if its camp exuberance is a bit muted on the screen. It’s unlikely everybody will be talking about it, but its positivity is infectious.

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.

Check behind the doors. Switch on all the lights. You won't be sleeping soundly for a while.

It starts off very sprightly and witty and maintains a high giggle-count throughout.

It’s a film to see for the performances, which are faultless, but while it’s sometimes riveting this play has been awkwardly translated to screen.

A muddle.

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.

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.

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.

Bird and Lindelof have thrown everything they have at this film and, aside from a pause for breath at the end, they’ve made something funny, surprising and packed full of wonder.

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.

An intense mix of horror, thriller and domestic drama, this is exquisite film making.

Zosia Mamet is the major selling point here. In a film that’s lovely but unlikely to prove memorable, she shows she can carry a film with immense charm.

There’s not a lot of consequence to this bizarre meeting, or really the film, but as a character study of two men alone at the top, it’s both very funny and quietly astute.

As kiddie entertainment it works well, with simple humour and lots of action. But there's not a lot to appeal to any accompanying adults.

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.

A promising idea that never develops beyond that.