Paul Bradshaw

Hanks takes to Walt like a pair of cosy slippers, but it’s Thompson who adds layers to a classy but predictable slice of Disney schmaltz.

Turning an awful true story about a serial killer into an awful true story about the system that let it happen, The Good Nurse is an important lesson for anyone who tries to package Cullen’s crimes too neatly. Better still though, it gives us one of Chastain’s best performances; one of the year’s most believable superheroes.

Fortunately, Hawke is fantastic. Over-acting like his life depends on it, his mad kabuki mugging somehow works perfectly.

Three films into Ti West’s extraordinary trilogy, Goth proves yet again what a force she is to be reckoned with – and West proves that funny, dark, smart schlock horror still has a lot to say.

Fizzing along nicely, even as it tips the two-hour mark, Enola Holmes 2 fits the mould it broke two years ago with a twisty murder mystery that’s well worth solving.

Juvenile? Weird? Gross? Yes. But also the best flatulence-themed indie-comedy-musical-drama you’ll see this year.

Dawn Of The Nugget might have a bit too much Netflix polish in places, and the spark of the original film doesn’t ever burn as brightly here, but there’s still a lot to love about a family film pitched for the post-Christmas dinner funk that’s all about the horrors of the poultry industry.

Choosing quantity over quality, intensity over tension and big-screen thrills over low-fi shocks – this is probably what the zombie apocalypse will actually look like.

Watching Pine and Newton try and erotically spoon-feed each other bits of bacon while secretly trying to work out if they have to kill each other is more than enough to hang an entire film off. It’s just a shame the rest of the movie isn’t up to scratch.

Endlessly silly, and hampered by a lousy script, Fall somehow still manages to be almost unbearably tense – the equivalent of spending two hours watching those stomach-churning YouTube videos of mad freerunners hanging off tall buildings for fun.

Almost completely built out of clichés and corn, there’s very little in Plane that hasn’t been seen before, but it very rarely matters. Exciting without ever really thrilling, it’s an immovably solid actioner – a fun Friday night pizza movie packing a handful of relentlessly unfussy action scenes that deliver exactly what they promise.

It might not be much of an Owen Wilson movie, or even that much of a superhero flick, but if you ignore the poster and trailer and the casting and premise, there’s a fun little Sunday afternoon family film here just begging for a sequel.

Tetris tells a cracking story, but it suffers from The Big Short effect – the thinking that no mildly complicated script is palatable without throwing every gimmick possible at it.

Taking Lorius’ own incredible expedition footage and giving it a whimsical bent and a voiceover, Jacquet shapes a powerful portrait of the world and its soothsayer.

There are glimpses of what could have been a decent film here – something charming, witty and exciting, with a cast of greats given room to soar – but whatever might have been is still stuck inside the pages of the book.

Somehow, Raimi – with strong, grounded turns from Cumberbatch and Olsen – just about keeps the film from running too far off the rails.

If you’re willing to let a few things slide, this is one of the best family blockbusters in years. Clooney and Robertson (literally) soar, the madcap action always feels grounded and Bird’s world is bursting with visual invention.

Careful, kids – rock’n’roll can get you pregnant. Or that’s what one Mormon teen believes in this cute lo-fi indie from first-timer Rebecca Thomas.

The script keeps its gloves on but Gyllenhaal gives his all, notching up one of his very best performances.

When Momoa isn’t on screen and stuff isn’t exploding, the daft dialogue almost sinks the film into parody. Sure, no one’s ever watched a Fast film for the talking, but so much time spent between set-pieces means we only really get half of a film a here – the big final cliffhanger stopping just as it’s getting going.

Gyllenhaal clearly loves losing his mind as the nice-guy/bad-guy with a mad streak, and Abdul-Mateen grounds it all in some kind of sticky morality, but it’s González that holds the film together from the backseat.

Lovely animation evokes a world made from Fuzzy-Felt and Play-Doh.

It works hard, and the first half hour is textbook creepy, but the oldschool grab-bag of shocks struggles to jolt a dour script to life.

As a comedy creation, David Brent is still a masterwork, and the film works best when the pathos hits as hard as the punchlines. But Life on the Road should probably be the leaving party we all thought had been thrown a few times already.

Like most daydreams, The Secret Life Of Walter Mitty is funny, sad, weird and corny all at once – and you’ll probably only remember the good bits as soon as it’s finished. But it’s still a lot better than real life.

Bristling with good ideas and two great performances, a rushed ending that dips into daftness ends up killing off what could have been a great pitch for an offbeat little TV show that we’re now never going to get to watch.

It’s hard not to be moved by the story, but it’s only a handful of great performances that save it from underwhelming. Steal the book instead.

With more whimsy than a Wes Anderson wedding – and a clunky third act that potholes the plot – Jeunet’s American comeback is beautiful, heart-warming and a bit of a mess.