Bros races along almost until the end when it embraces romcom elements, including a montage, that land as more clichéd than subversive. But that doesn't make the rest of this charming film any less entertaining and effective.

One of Lee’s brilliant choices is to refuse to put a soppy romantic gloss on the affair. He suggests instead that passion can blind lovers to a true understanding of each other as easily as it can open their eyes.

The chilling fact is that the real world has overtaken the one in the film. If you read any article about how AI is creeping into our lives these days, then M3GAN's killing spree will seem quaintly innocuous in comparison.

Again and again lines and scenes strain for comic effect, but fail to deliver the goods.

The Color Purple is a big, brash spectacle, an extravaganza blending the styles of Broadway musicals, Hollywood studio movies and music videos, with a mix of gospel, pop, blues and ballads, all of that coming together smoothly in one exuberant film.

Craig's soul-baring, skin-baring turn aside, Queer is a proudly artificial curio.

Not so much a follow-up as a ruthless self-parody, Evil Dead II ranks as one of the most visually inventive, relentless, and truly original films ever made.

Dungeons & Dragons: Honour Among Thieves is no masterpiece, but it's warm, upbeat, unpretentious entertainment, and it's bound to be popular. We certainly won't have to wait another 23 years before the next Dungeons & Dragons film comes out.

Ramsay's film-making flair lights up scene after scene, but as the narrative fragments, and reality and fantasy blur, you're left with the urge to read the novel to find out what's actually happening. The film may have communicated its heroine's boredom and bewilderment a little too effectively.

It’s an original and timely feminist spin on HG Wells’s concept, and a welcome riposte to those thrillers that are fascinated by homicidal maniacs at the expense of their victims. If only the film itself had been clever or scary enough to do justice to its ingenious premise.

The story also ends on a touchingly optimistic note, which is unusual for a Batman film. Who knows, maybe the next one won't be quite as gloomy. Pattinson might even crack a smile. But I wouldn't bet on it.

Casarosa has crafted a modest and gentle yarn about a few good-natured people in a small area, and their enviably simple way of life. His cartoon is aimed at the heart – and the tastebuds – rather than the brain. And it's no less of a delight for that.

Apart from psychedelic dream sequences with a bowling twist, it's the wealth of great characters and their insane dialogue that make this a memorable film.

The film's real superpowers are its endearing performances, and a screenplay by Chris McKenna and Erik Sommers that interweaves teen-angst soap opera and cosmic calamity with all the goofy logic and tonal nimbleness that make the best superhero comics so appealing.

Branded by some as nothing more than a glorified soap opera, "An Affair to Remember" isn't afraid to employ some rather obvious dramatic devices, but it's hard not to become swept-up into a romance that seems doomed to failure.

This is a film that is undoubtedly more effective in the dark, with a top-notch sound system and a huge screen, than it would be on a laptop or a television. If, like Evelyn and her family, you are willing to venture out of your home and into the outside world, you could hardly ask for more suitable or more exhilarating entertainment.

The film is interesting and informative, but all those bomb blasts don't leave you as shaken as they should.

The Room Next Door isn't a weighty philosophical work – as mature as it is, it still has glimmers of cheeky humour and campy melodrama. But it develops into a sweetly heartfelt reflection on ageing, dying, and whether or not it's healthy to find joy in the most desperate of circumstances.

Chalamet gives Dylan a defiant look in his eyes and through these later scenes creates a visceral sense of his restlessness, of how important it is for him to break free of the public assumptions about him, both musically and as the spokesman of a generation. You can finally feel an energy that can't be restrained and that should have been in the film all along.

Based on the play by Bill Naughton, Lewis Gilbert's film broke new ground by interspersing its amorous anti-hero's sexual conquests with frank and witty confessionals delivered straight to camera.

It's not a perfect film because it does take quite a while to bring you into the characters' lives and engage you in their fate but when that becomes ominously clear, you're hooked.

Music is definitely the key here, as the plot is distinctly thin, and the pairing of Crosby and Astaire, does not work as well as it could have.

Moving on from its cynical beginning, Materialists takes the long way around to an ending that is decidedly hopeful. It offers an unblinkered, earned romanticism that suits this moment, and bolsters Song's reputation as one of our most astute observers of relationships.

It's good fun, but unless your tolerance for the director's idiosyncrasies is stratospherically high, the chances are that the story will seem too random for you to care about by the halfway point.

The sequel to Gremlins actually proves more enjoyable than the first film, offering audacious dark humour and a lot of knowing 'in-jokes'.

You have to hand it to Nolan. To use the old expression, he puts the money on the screen, delivering the kind of noisy, extravagant and fundamentally ridiculous pulp fiction which reminds you why you go to the cinema. But it collapses under the weight of all the plot strands and concepts stuffed into it. You don’t get the impression, which you usually get from his films, that every element is precisely where it should be. Some parts of it go on too long, others not long enough. It’s a treat to see a really big film again, but a smaller one might have been better.

The message underlies but never overpowers a moving, witty character piece.

There are some outstanding sequences in this movie that are truly chilling