Olly Richards

Ror all its cleverness, Emily Rose does have its hokey moments.

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.

The idea is so great that it's a crying shame that the end product is such a sheep in wolf's clothing.

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

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.

The kind of film the tabloids will call to ban. Don't take that as a reason to see it.

Ridiculous, of course, but not as ridiculous as it might have been. As much fun as it has with the idea of animals stomping cities to rubble, it seems shy of going completely over the top, and it’s the poorer for it.

Vaughn gets a lot of points for imagination, but then quite a lot taken away for not knowing when to stop. A blast at times, The King’s Man could have sacrificed a fair chunk of plot for a bit more comedy.

Surprisingly watchable, at least by recent Vince Vaughn standards, with Chris Pratt stealing the show was the hilariously gormless lawyer.

A likeable comedy that uses its greatest asset, its talented, funny cast, to good effect.

A dream cast are on good form in a film that makes you want to call your siblings, but very glad you don’t live with them.

Sweet, formulaic entertainment, but occasionally clunky.

A by-the-numbers biography, this sheds little new light on an icon but features a soaring performance from Kingsley Ben-Adir.

Since the adorable, simple Garden State, Braff’s ambitions as a filmmaker have grown. He’s reaching for answers to really big questions, but they are, just slightly, beyond his grasp.

Innately sweet, due to the high number of fluffy animals, but it has the gloopy emotion and silly plotting of a Nicholas Sparks novel. Nicholas Barks, if you will.

New director Steve Caple Jr (Creed II) isn’t as slick a director as Michael Bay – it’s sometimes hard to orient yourself in his larger battles – but he’s efficient and can land some solid gags. It feels generally similar in tone to Bumblebee, by far the most fun Transformers movie.

Even with a strong cast to gild its endless chambers and salons, there's barely a spark of soul to fuel its story. Pattinson is no Malkovich either.

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

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 few laughs are salvaged due to the sheer quality of the talent present.

A tragic waste of acting talent, with nothing new to say. Can we please now politely close the door on middle-class repression before we get really angry?

A sequel nobody needed, and very few demanded, but one that is nice to have anyway. Very daft and very childish and mostly very funny.

Fleetingly enjoyable in very short bursts, this is the most cynically constructed event movie in recent memory, its heart purely in its wallet. A fantastic bore.

Further complicating the already indecipherable lore of the first film, The Boss Baby 2: Family Business is nice to look at but unfunny, unengaging and unintelligible. May it grow up soon.

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

As a perfectly serviceable horror movie, it at least gets the Exorcist franchise back into respectable territory, but there was the potential for something much better.

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.

Not bootiful.