Peter Bradshaw

It is an amusing and gruesome premise, which writer-director Damian McCarthy stretches out into a convoluted, bizarre extended narrative.

The coming-of-age parts of the film centred on Frances work a little better, but for all that, and despite Lithgow and Colman’s commitment, this is very uncertain.

It’s cheerful and watchable, if a relentlessly on-brand fan promo, corporately policed and controlled, using vintage archive photos and video rather than closeup talking-head footage of the band now.

This is good-natured, buoyant entertainment. It’s wearing well.

Opera director Damiano Michieletto makes his underpowered cinema debut here, and the whole film, with its lifeless staging, uninteresting performances and laughably naive ending can only be described as the school of Salieri.

The film scoots smartly past the death and brings us briskly on to the entertaining business of sheep-oriented crime detection. It’s all very silly, although, as with Babe, I have to confess to agnosticism about digital talking animals, even if the technology here is next-level. It’s an entertaining tale of ovine law enforcement.

Antoine Fuqua’s demi-biopic of Michael Jackson gives you the chimp, the llama, the giraffe … but not the elephant in the living room. It’s like a 127-minute trailer montage assembling every music-movie cliche you can think of: the producers’ astonishment in the recording studio, the tour bus, the billboard chart ascent, the meeting with the uncool corporate execs in their offices.

As this film’s producer-star, Angelina Jolie shows honesty and courage in tackling a story that so closely mirrors her own experience of having a double mastectomy to prevent breast cancer. But sadly, the film itself feels specious and shallow, insisting with bland and weirdly humourless confidence on the glamorous importance of the fashion world in which it is set.

For all that this film is about the revolutionary and disruptive business of art, it takes a pretty un-subversive view of art and artists, compatible with the museum gift shop. But I have to admit, it’s executed with brio and comic gusto – the “past” sections, anyway – and Lindon’s performance has charm.

It is another highly sympathetic performance from O’Connor, who converts the British reticence of his earlier roles into Dusty’s strength and quiet vulnerability.

The Blue Trail is a generic mashup: it partly has the bittersweet tone of many films about defiant old people, and partly it has something far more subversive and disquieting. The mix of tones is interesting, like chewing cake and cheese at the same time.

It sometimes seems as if each Jude film is almost to be viewed once only; if you press play again, or go to the cinema to see it a second time, there will be only a blank screen, as if Jude and his ragged company have folded their tents and vanished.

It all rattles along watchably enough, taking in more locations than just boring old London, though you’ll find your credulity stretched almost to breaking point.

There are one or two interesting moments: including an intriguing discussion of the idea that Tinder is anti-love and in fact just promotes addiction to the app, which is inimical to actually finding a long-term partner. But really this is a very tiring and mediocre film.

This is a serious and worthwhile film, though one that tells you what you know already, and yet somehow perhaps doesn’t tell you enough.

Ben Wheatley’s Happy New Year, Colin Burstead is a hothouse flower of misery, sprouting dozens of resentment-buds under artificially controlled conditions.

A pale imitation.

This is a Hail Mary pass that Gosling just about manages to catch.

It is a resoundingly confident drama.

It’s quasi-erotic, pseudo-romantic and then ersatz-sad, a club night of mock emotion.

Perhaps there is no great enthusiasm out there for a new version of Dracula from Luc Besson, the French maestro of glossiness and bloat. And yet it has to be said: his lavishly upholstered vampire romance has ambition and panache – and in all its Hammer-y cheesiness, I’m not sure I wouldn’t prefer to it to Robert Eggers’s recent, solemnly classy version of Nosferatu.

I’d like to see a film about a comedian who, like Bishop, really does flower into being funny.

Rabbit Trap loses focus, but not before it has shown us a scary performance from Croot.

It’s a time-honoured and perfectly enjoyable setup, and the first act, when the new reality dawns on clueless Bradley, is watchable. But the plot twists are derivative and the action then becomes dependent on weird stabs of grisliness that are not convincing or consistent with the characterisation.

An amusing vignette.

It’s ingenious and watchable stuff, with cheeky twists, although the final escalation to full-on action mayhem is maybe a step too far towards pure absurdity. The film is also a bit lenient on AI: “Human or AI – we all make mistakes.” Uh … yeah. But I wouldn’t be surprised if Raven and Judge Maddox revive their human-digital chemistry for a sequel.

You have to make friends with the jauntiness and zaniness of this film and to forgive its sometimes rather laborious quality, and Lara’s deadpan drollery is always watchable.

Some interesting material here, but the punches don’t land.

Avatar is as gigantically uninteresting and colossally impervious to criticism as ever: a vast, blank edifice that placidly repels objection.

There’s nothing wrong with a weepie or big emotional moments, but for me Goodbye June is too unreal, too contrived in its sugary farewell.

Audiences might, by the closing credits, think they still don’t quite know what happens to Helen and Mabel in the end, or perhaps at any time, but then again real life can feel messy and unfinished in just this way.

It has a seriousness, an unsentimental readiness to look reality in the face.

What seems to be most therapeutic is their contact with the dogs. As one teacher puts it: “You are more than good enough for that dog just the way you are.”

Magazine Dreams itself, though flawed by a cumbersome flashback structure in which he is talking to a counsellor, has powerful moments and Majors is very good, especially in the bizarre scene when Killian insists on going onstage at a bodybuilding event just after being beaten up.

Sweeney has already shown what a superb and detailed performer she is in the FBI interrogation movie Reality, but this is far inferior: a stodgy, lifeless piece of work.

Sirāt is a path to nowhere, an improvised spectacle in the Sahara; it is very impressive in the opening 10 minutes but valueless as it proceeds, and a pointless mirage of unearned emotion.

There are a few laughs in Z2: of course there are. But they are algorithmically generated and corporately approved. It’s the kind of movie you put on an iPad to keep the children quiet on a long plane or train journey; nothing wrong with that of course, but the heart and soul are lacking.

Quite simply: when the crow is off the screen, the drama starts to be involving and affecting. Once the crow is there, the film looks self-conscious.

Russell Crowe is rather wittily cast as the portly, pompous Reichsmarschall Göring; it’s the best he’s been for a long time, a sly and cunning manipulator playing psychological cat-and-mouse with the Americans. But there is a deeply silly performance from Rami Malek as Kelley.

The Running Man sometimes feels retro-futurist and steampunky, though it is always watchable and buoyant. Wright has hit a confident stride.

This is a movie with, in the Scots phrase, no small opinion of itself; a movie of big scenes, big performances, big images, epiphanies and hallucinations. Not all of them work, but the presence of Day-Lewis settles and moors it.

The sheer pointlessness of everything that happens subtracts the oxygen and even Fanning’s imperishable star quality can’t save it.

The work is the most important thing and Addario’s speaks for itself.

The effect is tender, sympathetic, diverting and often very elegant and indirect. But it withholds from us the full, real pain of damaged love.

None of these characters quite flares passionately into life but all are persuasively portrayed, and it’s a vehement reminder of what doesn’t get taught in British schools.

The film is a derivative, if well intentioned, piece of fan fiction.

This is a movie whose absurdities need to be indulged.

& Sons doesn’t deliver on the promise of all its film-making talent but Nighy is always amusing.

Gender, sexuality, status and power are all in flux here, a playful effect that is however withdrawn when we arrive at the sacrificial seriousness. It is a sweet tale which floats self-consciously out of the screen.

It’s a movie of big moods and grand gestures, undercut by the banal inevitability of losing.

There’s an amazing lineup of collaborators and stars, and it’s good to see Candy’s uniquely likable and buoyant screen personality, but the tone borders on the stultifyingly reverential.

It sounds fun on the face of it, and the sheer silliness of the situation almost keeps it afloat, but the cardboard quality of the drama gets soggy.

Perhaps some of the narrative tension flags between their arrival in Turkey and then the all-important border, but this is a well-acted, spirited piece.

This movie lodged in my mind a little more than Hong’s earlier films, perhaps because it is less contrived and it features a genuinely funny and complex opening scene.

The unreality of the film never quite equates to dishonesty about what exactly happens when two people not in the first flush of youth decide to be in love, but it takes an effort of will to suspend disbelief and submit to a well-intentioned fantasy.

It’s an entertaining and sympathetic movie, if a bit route one, and audiences might possibly feel that TV shows like Sex Education and Heartstopper go a bit further and with more contemporary nous. But nice performances from Anders and Small bolster this movie’s likability factor.

It’s refreshing for a film-maker to opt for subtlety, and there are good performances from Riley, Martin and Farthing.

The film, though eventful enough, does not quite succeed in its tacit claim to be a study of poverty; the author behaves like a student who is stoically accepting some temporary dodgy accommodation.

The film is very silly and always watchable in its weird way.

The film does not really permit the various emotional crises and issues to supersede the importance of fighting all that much, and the fighting itself is not transformed or transfigured in the drama.

This is a genuinely strange film, elusive in both tone and meaning, one which deploys the obvious effects and rhetorical forms of irony, while at the same time distancing itself from these effects and asking its audience to sympathise and even admire Lee, because she is not supposed to be the villain.

The Wizard of the Kremlin just feels pointless in its knowing cynicism, right up to the silly, unearned flourish of violence at the very end.

Finally, inevitably, at the end of the protracted tale, we get to the question of which of the two is the “real” monster. The answer, in this high-minded and eventually rather sanctified romance, would appear to be – neither of them.

The movie is clenched with its own sense of contemporary relevance and risky blurred lines, saddled with an almost deafening score that often grinds straight through the dialogue; the drama becomes an atonal quartet of self-consciousness.

Yorgos Lanthimos’s macabre and amusing new film has a predictably strong performance from Emma Stone, an intestine-shreddingly clamorous orchestral score from Jerskin Fendrix and, most importantly, a wonderful montage finale – but frankly it’s a very, very long run-up to that big jump.

The movie has a high gloss and sheen, like something by Nancy Meyers, which creates a diverting disconnect, yet it flinches from the recognisable, tragicomic reality of a bad marriage.

There’s a fair bit to enjoy here, with the club sometimes resembling a kind of senior-citizen X-Men group whose collective superpower is invisibility; old people can do things without people noticing them.

This solid roster of acting talent can’t do much about how frankly uninteresting and unfunny The Toxic Avenger is most of the time. As satire or spoof of both superhero movies and scary movies it is abysmally obsolete, and on its own terms as horror-comedy it achieves neither scares nor laughs.

Sex is earnest, but cerebral and challenging.

This sequel from Indonesian action director Timo Tjahjanto, co-written by the writer of the original, Derek Kolstad, really doesn’t have much of the humour and the storytelling chutzpah of the first film.

When the decision is made, the final act has an almost morosely elegiac mood, as it must, as various speeches and set pieces reconcile its rather trudgingly earnest direction of travel with the witty, savvy materialism of the movie’s premise.

Benesch brings a tough, smart, credible presence.

It’s Curtis who embodies the story’s wacky spirit.

A likable, admirably intentioned if slightly more predictable entertainment, in which the good guys and the bad guys are more obvious.

I found something a little unfocused and even slightly indulgent or redundant in the way the images are put together (accompanied by a clamorous musical score by Evgueni Galperine) without making it clear to the viewer what we are looking at and where. Yet the film is so striking, especially on the big screen, almost itself a kind of land art.

Overall a very silly movie – though it’s keeping the superhero genre aloft.

This top-notch cast gives it their considerable all, but to my taste the syrup content was in the end too high.

This very uninteresting and uninspired story plods along for an hour and a half, though there are some almost-interesting surreal scenes when our heroes find themselves in weird alt-universe dimensions.

A calm and interesting introduction to an important dissident author.

This lavishly produced and costumed European co-production is handsomely cast – but the range of talent here feels wasted on what is a fundamentally dated and stereotypical drama, whose Bohemian passion is diluted.

Intriguingly, but finally a bit frustratingly, Perry is running four ideas at once, a kind of cine-quadriptych with the plurality signalled by the title.

From the very beginning, this new Superman is encumbered by a pointless and cluttered new backstory which has to be explained in many wearisome intertitles flashed up on screen before anything happens at all. Only the repeated and laborious quotation of the great John Williams theme from the 1978 original reminds you of happier times.

Now we have 28 Years Later, an interesting, tonally uncertain development which takes a generational, even evolutionary leap into the future from the initial catastrophe, creating something that mixes folk horror, little-England satire and even a grieving process for all that has happened. And there are some colossal cameo appearances.

Overall, it’s an entertaining bit of summer fun.

There are some laughs and it’s always likable.

There is no radical reinterpretation of Romeo and Juliet here, and the staging, costumes and performances look as if they come from something as trad as Zeffirelli’s 60s version … only it’s modern-language. Not worth the two hours’ traffic of their stage.

The estimable cast all do their utmost but the overall effect is frustratingly implausible.

It doesn’t, in fact, quite fall into place.

Four John Wick films with Keanu fetishising his guns and sporting his increasingly werewolfy facial hair have been increasingly heavy going but now de Armas mixes things up and she is a smart screen presence. As for the ballet, the emphasis is on Tchaikovsky’s Swan Lake; nothing wrong with that, of course, but if the Ballerina sub-franchise continues, let’s hope that different works are chosen and we see de Armas actually getting out there on stage in a tutu as opposed to simply racking up the kills.

This film has an audience, certainly, but it feels very derivative.

Perhaps the full story of the encampments has yet to be told.

The fierce sinew of Shaw’s performance gives the film some shape and keeps it grounded. Mackey and Krieps, both formidable performers, give the film their presence and force.

Its fervency and its eroticism give the film its currency.

The pure strangeness of the movie commands attention and there is a charismatic lead performance by Japanese actor-musician Mitsuki Kimura, or Kôki.

Vie Privée canters along to a faintly silly, slightly anticlimactic conclusion and audiences might have been expecting a bigger and more sensational twist. Yet Foster’s natural charisma sells it.

This is a story about the randomness of life in the big city, a melodramatic convulsion of grief, rage and pain which has a TV soap feel to its succession of escalating crises.

Everything here is out of the top drawer of production value: but it never really comes to passionate life.

It’s a baggy comedy, sentimental in ways that are not entirely intentional, but there is value, too.