Olly Richards

A cheerful comedy-drama with charm to spare.

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

If there's a criticism to be made, it's that the script doesn't push itself far enough with the moments in which it excels.

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

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.

Crediting its audience with emotional intelligence, this rises well above your usual rom-com-dram. But if you’re planning on seeing it with your other half, be warned: it might invite some uncomfortable discussions afterwards.

In stripping Jack Ryan back to basics it’s lost some sophistication, but reinvigorated an action hero who’s unlike any other on offer and who absolutely earns his second — or rather fourth — shot.

Like the Minions, this instalment is barely distinguishable from any of the others, but it’s easy to be won over by its nutty joy and enthusiasm.

Farty, burpy, fall-y over fun tied to a pretty inconsequential plot. Your kids will explode with joy.

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.

If this tiresome yarn is the ‘true’ story of one of Disney’s most popular villains then, please, give us colourful lies and happy ignorance.

So quirky that it’s almost in danger of collapsing under the weight of its own antic whimsy at times, but a comic delight destined for cult adoration.

If you’ve asked yourself why on earth there needs to be a movie about Troll dolls, this doesn’t really provide a strong answer, yet for all its awkwardness and fluff-brained logic, its enthusiasm is infectious.

A sequel that feels less necessary than willed into being, but that doesn’t mean it’s not pleasantly entertaining. There are more fluffy animals than in the first movie, more set-pieces and about the same number of laughs.

Anyone unfamiliar with or underwhelmed by the music of OutKast will find little in this thin piece of cinematic storytelling. Fans happy to luxuriate in its artistic indulgence, however, will be swept up in the weird, random, fantastic OutKastness of it all.

As a director, this feels like Stiller’s moment. Mitty is a film that bravely rejects cynicism. In many ways, it’s the new Forrest Gump. Go with it and it is, in all senses, wonderful.

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

A step back from the last film in terms of ambition, this nevertheless continues the series’ chirpy, amiable mood. Nothing to be po-faced about here.

Ultimately, Hidalgo falls down due to a neglect of basic story elements -- anonymous villains, a hero with no clear goal other than money, love interests who sound alternately gin-sodden and lobotomised -- and after a brief burst of energy staggers home at a mild limp.

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

Despite a second act lull, Connolly convinces in this cute and charming comedy.

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.

It’s gory and mildly funny but its joke – that the bear is acting like a serial killer – is the only one the film has. It wears thin very quickly.

It suffers from ADD, but there's some terrific stuff in here. Leaving 15 minutes from the end and saving yourself a lumbering coda may improve enjoyment.

An ambitious documentary on one of the most intriguing, frightening phenomena of our time. The attempt to cover every aspect of a broad topic results in an intriguing if slightly disjointed watch.

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

Far from the best of Penn’s directing work but also not the worst (The Last Face is unlikely to lose that dubious crown). Dylan emerges the most triumphant Penn from a largely boring drama.