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?