As just another entry in the MCU, Wakanda Forever is a very solid film. Entertaining and intelligent, it builds on the themes of its predecessor. Yet, navigating more than defying the Marvel machine, Coogler’s sequel becomes more than the sum of its parts. And so Wakanda Forever’s most important legacy is as a fine and fitting tribute to its erstwhile hero.

While comparisons to Moonlight are not without merit, The Last Tree bucks the coming-of-age blueprint in new, specific ways.

No Man of God sets out to demystify serial killers and achieves its aim.

As moving and timely as The Final Year is, it doesn’t quite hit these marks.

The footage of Leclerc ascending sheer, near-featureless sheets of rock is so defiant of physics that it is easy to forget just how mind-bogglingly dangerous it is.

Though it may not stray too far off a well-beaten track, Marley Morrison’s feature debut Sweetheart is a sure-fire crowd pleaser that showcases a young filmmaker and cast with real promise.

The House By the Sea is ultimately a deeply satisfying and occasionally moving experience.

Despite Blanchett's resplendent performance and the comforting assurances that are inherent with any excursion into the reliably innocuous Disney universe it's tough to overlook the fact that there's something depressingly antiquated about Branagh's dazzling fairytale and its regressive sexual politics.

Its stately pace doesn't preclude Mr. Holmes (2015) from being a delightful romp all the same.

The stakes are upped and character count doubled, but this doesn't mean attention to detail is spared. The visuals are sublime with different animation styles used to tell different stories.

The superb editing of news footage, the home video recording of the King beating and a dizzying amount of imagery from the heart of darkness during the riots throws us into the unfolding disturbances with minute-by-minute immediacy.

What Keeps You Alive is a gorgeous rural revenge featuring two strong lead performances, a blood-stained, thicketed idyll, and some moments of dark humour – or cathartic victory – depending on how you view your current or past relationships.

With Avengers: Age of Ultron, Whedon doesn't merely hit it out of the park, he Hulk-smashes it.

Captain America is simply awful. It is another hour and a half of prologue to the film people are apparently waiting for - The Avengers.

Told with tenderness and honesty, Cicada is a treatment of trauma that does not judge or preach or take sides, but, in building to its breathless crescendo, goes to show just how much courage it takes to confront the past in order to look to the future.

As a historical account it is unvarnished without feeling dry or academic, and as a coded satire of the contemporary British political climate it is urgent and deeply impassioned.

Rocky has always lived and died on its direct, unsubtle sincerity. It’s in these heartfelt moments where Creed II flies, underpinning its thoughtful climax and one of the series’ most surprisingly moving endings.

Aside from its unremarkable presentation, Ben Is Back’s major hurdle, and the one that it never manages to clear, is that it’s yet another story of a rich, white young man wasting his future.

Throughout, Solondz never allows a situation to get too serious. Something clownish or ludicrous is always peeking round the corner. At times, as with the very finale of the film, this works brilliantly: generating something darkly hilarious and cutely uncomfortable.

An earnest, forensic examination into the slaying of the Israeli Prime Minister.

The Founder is a solid biopic but not one that will go down in history - unlike the multi-million dollar-making fast food chain at its core.

As a neo-noir Holy Spider offers a tightly-woven procedural crime thriller, bolstered by a superb central performance from Amir-Ebrahimi and gorgeous, lurid aesthetics. A steadier hand marshalling its themes and a more disciplined third act might have tipped Abbasi’s third feature into being something truly special: as it stands we are left a very solid, smart and satisfying thriller.

For the most part, Dinosaur 13 is highly absorbing - some of the decisions that come against Larson are truly shocking - but it does lack in places as a piece of documentary journalism.

Crimson Peak is locked in by a somnambulist, formulaic vibe and comes off as contented to go through Gothic 101 motions without recourse to reinvention or refreshing vigour.

Amini has proven his narrative acumen before and will undoubtedly do so again, but his inaugural stint behind the camera offers only fleeting glimpses of Highsmith's seductive, satirical prose that old hands such as Clément, Hitchcock and Minghella have so notably put to good use.

The Great Museum is a beautiful love letter to obsession and eccentricity, the love is given and received in equal measure. This, at its nature is what art should do, and what cinema strives for and rarely achieves, with this poetic discourse about the difficult question of what to do with the art of robber barons in relation towards a finality that befits such a collection.

There are moments of real wonder and delight and Quentin Blake's original illustrations are occasionally glimpsed in the set ups. This isn't an epic of visual wizardry and there's zero irony or clever wit. Rather, Spielberg's latest is an old-fashioned children's tale told simply and with plenty of heart.

The Danish Girl is as handsome yet disappointingly flat as a painting on a chocolate box. It should certainly be applauded for bringing to light an unsung hero of the transgenderism, but in its unremitting tastefulness and sentimentality - even a beating has beautiful setting and a lovely bit of blood - it ultimately left this reviewer as cold as a dip in a Danish bog.

A neat little thriller which unfortunately never achieves plausibility.

Wedding Doll may be a small film, but it's deftly executed and built on two remarkable leading performances.

If you can forgive the cardboard villains and suspicious editing, there is plenty here to hold your interest.

In drawing on a melange of influences, Ho’s film succeeds in using fractured time as way of puzzling together the essential drives that move a city and its inhabitants.

There are glimmers of a more complex, empathetic film here: the main cast do fine work with what they’ve got and the film’s apparent detachment from its characters mirrors the empty indifference that often characterises depression. But any potential for complexity is undone by the film’s tacky reveals, mawkish speechifying and its often spiteful approach to its own characters.

Though the farce is occasionally funny, it's as bloated and windy as its comedy policeman Inspector Machin.

Short but sweet, Advanced Style goes some way towards reclaiming high fashion for all ages and backgrounds - not just the young, privileged and white.

This could be seen as a smug, empty exercise in satirical excoriation – and as a smug, empty exercise in satirical excoriation, it’d be one of the best – but there is a genuine heart to the film, as well as intellect. Cheadle, Gerwig and Driver are all superb, while Sam Nivola and Raffey Cassidy give their smart-mouth, role reversal kids an impossible likeability.

Whilst King of New York isn’t, as many have claimed, Ferrara’s masterpiece, and while it may seem muddled and even unspectacular when viewed as part of the genre, it leaves a vinegary taste in one’s mouth that is both brilliant and unpleasant.

Just as we feel that we have grasped the truth behind the image, it vanishes into thin air: The Real Charlie Chaplin is a Sisyphean task of the directors’ own making.

The Good Dinosaur is up there with Toy Story in terms of its technical achievement and for providing an equally heart-touching, emotional tale.

In the end, Mid90s is harmless and, at times, funny and charmingly nostalgic. But unless you’ve spent the last 25 years lamenting the loss of VHS, Super Nintendo and Nirvana – or are a manic Katherine Waterston completist – then there’s no real need to see this film.

Kevin Kerslake’s Bad Reputation doesn’t explore just Jett’s rock star image and the added layers of hostility and confusion that her gender brings to the term ‘rock star’ but also, how cinema weaves its elements within the world of music, it’s aesthetic and subcultures, cinema and music as creating its own little world.

Described as a darkly comic horror movie, Cold Fish manages to defy the trade descriptions act on both fronts.

To suggest that One Floor Below operates at a simmer would be to exaggerate the level of heat being applied to the pot. This is one that Muntean is happy to let bubble intermittently, cranking the tension around on a scarcely-moving winch.

Told respectfully and far from tarring an entire religion with the same brush, Young Ahmed is an exceptionally crafted and intelligent film.

A great deal of love, intelligence and effort have gone into crafting a more mature rendering of the Wizarding World, where pertinent themes of segregation, racism, international politics bubble in the narrative cauldron.

Riccobono neither condemns nor sympathises, maintaining a commendable neutrality, as his subjects frank testimony paves the way to jail cells.

The most commendable aspect of the The Return of the Living Dead is its ability to combine horror and comedy rather than allowing the different elements to become intermittent and the tone inconsistent.

There are moments in the film that just feel wrong, sometimes complex and wrong and sometimes just plain wrong.

Infinity War will likely be first choice for the summer season crowd, but Deadpool 2 wins hands down in terms of personal stakes and visual flair.

For fans of the original film this will be a very enjoyable sequel, perhaps just shy of being an all-round triumph, but an admirably heartwarming effort at continuing the legacy of everyone’s favourite magical nanny.

As this is only inspired by the real events, there are perhaps one too many threads neatly tied into a bow, but all of them work in concert with the main event.

A minor miracle in and of itself, Edwards' Rogue One somehow delivers on almost all of its weighty pre-release promises whilst at the same time besting The Force Awakens for sheer spectacle and world-building.

A sumptuously shot, nostalgic bildungsroman framed by a bitttersweet darkness, the film deploys many well-worn tropes of the coming of age drama. But they’re executed with such a light, self-aware confidence that Summer of ’85 has wit, warmth and charm to spare.

A United Kingdom is a solid, competently made and gorgeously photographed film, but its exploration of complex issues - race, gender, politics and affairs of state - feels rather safe throughout, their full impact and import somewhat dialled back.

Constructed with his trademark panache, it is bold, bracing and stylish in both its aesthetics and an outstanding retro soundtrack, but as its parallel leading ladies will discover to their peril, not all that glitters is gold.

Guiraudie's humour is self-referential and at times hilarious. His tendency to shock might seem adolescent but he's also careful to identify taboos that perhaps shouldn't be taboos at all.

It isn't that it's hard going: it simply can't decide what it wants to be. [Cannes Version]

It's a gem of a film to be cherished by one and all.

A meandering, almost impenetrable tale of sweaty strip joints and sleazy gangsters.

There’s little here to surprise anyone with a passing familiarity with the story, and its creepiest elements sometimes feel neutered. It may be heresy, but the body-horror of the Land of Toys and sublime terror of the whale were imagined far more viscerally in the Disney version.

Cruise rides the Breaking Bad and Narcos train, only not as well as either.

It’s an assuredly thought-provoking film that’s earnestness doesn’t drag it into the weeds, concluding with a wholly deserved, humanely warm resolution.

Director James Wan has delivered what should rightfully be considered his masterpiece. There is a breadth and scale of ambition at work, which really tops anything he's tried in the genre before. Most importantly: it's a resounding success.

Fares' film doesn't ever quite hit the same high-octane levels as its petrol head subjects but it is nevertheless a very unusual and encouraging representation of social change, defiance and self-determination.

As a comedy about contemporary American society it feels weirdly anachronistic, with an uninspired story told with little urgency or novelty.

It has its moments, but the film is guilty of being fun but forgettable, much like those numerous spy stories cooked up on typewriters in the quiet hours of night and then lost to history when the guns fell silent.

Despite being lethargic at times, it's a rich portrait of people and place.

Ultimately, Memphis is a bold and bewildering conjuring act, that might mean nothing at all, but the sleight of hand is worth the price of admission.

In the genuinely shocking and surprising third act, it wades deep into the moral shades of grey at the story's core and comes out the other side with no easy solution.

Côté employs a methodical reticence that often leaves the viewer guessing as to the significance of the images we are seeing.

Adoring fans of the original will surely not be disappointed. Disney have cast their magic spell once again, creating a modern romantic fable with lavish visuals and wickedly entertaining performances.

Jason Lei Howden's directorial debut is primed for unalloyed genre thrills, making you laugh until your sides hurt and subverting the rom-zom-com format.

As a return to the dark, primal and transgressive terrors of the original movie, Alien: Covenant is a success.

With a filmmaker as intelligent and controlled as Nemes, Sunset has the assurance that everything has a place and the confusion is intended. But even this has a paradoxical effect.

For a film that vocally questions convention, it's perhaps a shame that Miller and co. played it so safe with a fairly cookie-cutter origin story, but it's really just there to give Reynolds ammunition to riff on. Whether the studio might be willing to push the character further into the leftfield in the future will depend on whether Deadpool warrants sequels.

Men is a hallucinatory provocative work which will provoke laughs and yelps and not a little self-reckoning.

It may not be what everyone expects from a sequel to The Lego Movie, but in some ways that’s the best thing about The Lego Movie 2. It presents something different, wrapped in a familiar outer core.

The politics serves as footnote to the aesthetic for Wheatley and High-Rise is certainly style over substance. For fans of the British director, that may well be more than enough.

For anyone with at least a vague interest in the history of art, Troublemakers offers a fascinating if uneven viewing experience and a valuable record of a movement whose boldness still has the capacity to impress.

The tone is mournfully serious and this contrasts with the inherent silliness of vampires. Milo, with his glazed expression and apparent absence of affect utterings, is a compellingly dour presence but doesn't prove quite enough to prop the film up alone.

The horror in Knocking isn’t supernatural or down to mental illness: it’s societal. The clever switch in perspective leaves a haunting impression and makes Kempff’s segue into fiction a triumph.

There's something highly familiar about the material and although it is artful and occasionally powerful, Akin and co-screenwriter Hark Bohm have constructed their story without straying far from countless other versions of the same thing.

Despite being exquisitely shot and flowing with an inescapably graceful stride that seems in accordance with the film's titular dance, The Tango Lesson works far better as a deconstruction of the creative process than it does as a satire on the industry.

Coherence is a debut of tremendous ambition and potential, yet sadly, despite some genuine moments of tension, the film ironically makes too many wrong turns and its convoluted themes fail to coalesce on a human level, tempering the initial intrigue and culminating in a plaintive sense of admiration, rather than enraptured adulation.

A run-of-the-mill, plodding drama, the 'social realism' of which never feels particularly real.

As fuzzy and reassuring as a multi-coloured Pringle sweater-vest, The Phantom of the Open is a good, old-fashioned crowd-pleaser.

What starts out as creepy descends into a creature feature that's more laughable than scary.

Over 60 years since its initial release, On Moonlight Bay remains a fun and charming snapshot of classic Hollywood.

The two stars stay on their game but their relationship is largely sidetracked in favour of fending off ghouls. While the heart rate may increase the creepiness dissipates, though The Autopsy of Jane Doe remains good genre fun - if little more.

In politics and the media, opportunistic hate-mongers whip up bigotry against gender non-conformity, while everyone in contemporary cinema is beautiful but no one is horny. In this context, Please Baby Please is a vision inspired by the past, but is undoubtedly a document of the present.

For most post-apocalyptic films, the nightmare is really a disguised fantasy. In Michôd's excellent The Rover, the nightmare is real.

Trouble lurks around every corner, and the narrative does keep us guessing, but this limits any sincere indictment of the apparently irresolvable us-and-them conflict. An arresting, often edge-of-your-seat action film, then, but not the enduring La Haine-inspired inspection of societal ills that it could have been.

There’s no revolutionary moment of success in which the meanies are ousted and hip-hop declared godly. Music is like education in this: it’s all about the movement, not the destination.

Accessible to newbies and satisfying to fans, it’s way past time that brilliant performers like Larson were given their time in the spotlight. But Marvel, please, can we sort out the colour?