From Pteranodon's dive-fishing to Raptors pack-hunting, Jurassic World is in its element when it's using its assets, and though they can't recreate that awe of twenty-two years ago, this is finally a sequel worthy of the title.

The Legend of Barney Thomson has a few redeeming features scattered throughout, but for Carlyle it's much too bland and undefined.

It's a little messy, like life, but it's also beautiful to experience.

Phoenix has created a masterful performance for a film which itself feels like a masterpiece: a cracked masterpiece.

Though It’s a Mad, Mad, Mad, Mad World struggles to justify its ludicrous length, there are just enough laughs, cameos and memorable set pieces to garner a recommendation.

Natural Light illuminates the fading glow of humanity amidst horror.

Not only is The Voices uproariously funny throughout, but it's actually far cleverer than one might expect.

Even if Murdoch's directorial style is at times off-putting - the dance routines oscillating wildly from charming to naff - it's hard not to be taken in by trips into Glasgow's backstreet gig venues and the type of Victorian splendour seen on screen too rarely.

It was Shivers that laid the groundwork creating the blend of sex, distorted psychologies and horror which became Cronenberg staples and his signature style in the years to come.

The political commentary feels far more explicitly pointed and widely integral than in previous incarnations which adds a bold new dynamic where perhaps the same re-inventive verve is lacking in the film's formulaic story. Fortunately, Greengrass and Damon are so in command of this material it's rarely too much of a concern. Even when little of substance seems to be happening, the narrative feels propulsive.

It is difficult to work out what to dislike most about Victoria and Abdul: the literal foot-licking or the cliché-ridden plot, but the greatest shame is the waste of a genuinely fascinating piece of history and a world-class Judi Dench performance.

It is told with characteristic precision, compassion and determination by its prolific director.

Quieter moments do punctuate the tension - though the mood never sheds the lingering stench of impending death - and the characters are allowed time to breathe and inject a little colour to their long-standing relationships.

Bad Neighbours 2 is a smart and worthy continuation of this comedic battle of the age-groups with a cracking takedown of "super rape-y" frat boy culture, where every themed party is 'bros and hoes', and makes a stand for female empowerment, all the while serving up belly laughs, rehashed-but-still-brilliant airbag gags and feminist-inspired gross-out acts.

Both tender and hilarious, Sisters is a raucous romp and complete catnip for fans of Fey and Poehler.

Unfortunately, despite its good central idea, Lapeyre and Wilson's execution is disappointingly poor.

The Wait consistently defies common sense in order to sustain the thin narrative.

The story begins with the film's defining act and most accomplished sequence but, despite handsome execution, never hits those heights again in a plot where familiarity severely dampens the squib.

As both director and performer, Waititi is on top form.

There is much that is inexplicable and remote about Sun Choke, but those should not be read as immediate negatives, but held up as virtues. Cinema too often gives the viewer everything on a plate and then spoon feds us with details until 'we get it'.

Gordon-Levitt is perfectly fine as Snowden, getting the voice and cadence fairly spot on and he looks almost right. The problem is that he's such an introvert and blank slate - that's pretty good for espionage but not especially compelling for a character arc.

When Danny and Stu are on-screen together – The Escape Artist is immensely enjoyable.

It’s a shame that the real hope gap here is that between expectation and reality.

Something about the film’s tone fails to convince. Chekhov was the master of subtext and lauded for his compelling psychological naturalism. On screen, though, the characters’ desires come across as melodramatic and their impulsive actions lack Chekhov’s subtlety.

Hotel Artemis is a bold, loud, ambitious film, far cleverer than the bog-standard summer blockbuster fare, and with sharp humour and driving suspense it makes this pulpy-sci fi thriller a very fun watch.

A fluid, dreamlike tone poem of mothers and fathers, death and continuance.

Hosting's film is not for everyone; it is unforgiving and it is relentless. But for those of a certain disposition, The Greasy Strangler offers a great deal of distressing pleasure.

It feels more that Gemma Bovery goes through the motions of the novel, restricted by its own pretensions to meet high-brow literature.