Olly Richards

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

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.

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.

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.

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.

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

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.

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.

Take That have more than enough hits to give this a solid soundtrack, but the story they’re loosely tied to is weakly constructed and far gloomier than the cheery music deserves.

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

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.

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.

Sure, the final act is the sort of monster battle we’ve seen countless times, but Shazam! Fury of the Gods never loses the energy and easy laughs that makes this second-tier hero far more fun than a lot of his more famous colleagues.

It’s almost churlish to complain that some of the carnage is too basically carnage-y, but at 169 minutes there’s a lot of it to sit through. That running time might test the casual fan, but for Wick devotees this character’s battle through assassin hell will be close to action-movie heaven.

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.

If you’ve never seen Luther, don’t start here. You will be completely lost. Even dedicated fans are likely to be confused by this messy revamp of a story that once felt dangerous but is now merely daft.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.