Milly Alcock’s hungover hero is delightful, even if the film never truly cuts loose. Here’s hoping she gets a weirder, wilder showcase.

The overall tone remains as juvenile as ever. It is goofy and giggly and resolutely wedded to stupidity. There’s little attempt to add much depth to the story, in the way that Pixar might try to — it is essentially, once again, just a series of contrived opportunities for the little guys to get up to chaotic mischief. And so it goes. The world keeps on turning.

A stellar cast, a few laughs and some stylish filmmaking can’t quite make up for Over Your Dead Body’s lack of dimension and off-putting tone.

An undeniably funny copulating caper that makes good on the laughs, if a little less on the lust.

The posters — inspired parodies of recent horror films — are wittier than the film, suggesting that maybe next time get those ad creatives into the writers’ room. Not your favourite Scary Movie.

It's an effectively made, beautifully acted piece, but as with many family dramas, much of this could have been sorted out if a few confidences had been shared a few decades earlier. 

A warm, mostly funny Brit-romcom which both celebrates and tweaks the old template — with winsome turns from Rice and Fearn.  

Scrappy, stylish and occasionally self-indulgent, Köln 75 turns backstage bedlam into jazz-infused drama. Mala Emde conducts the chaos and her performance, like the film, is most alive when everything threatens to collapse.

A delightfully silly film for a perfectly stupid franchise. It could have had a few sharper lines and more narrative drive, but this should still win over a new generation of He-fans.

This movie is most certainly not for everyone. It favours opacity, half-glimpsed creatures and a steady sense of unease over crowd-pleasing jumps, and is sure to spark endless debate and interpretations among those who aren’t bored silly by it.

Both unnecessarily complicated and woefully simple, this is one of the least successful Jack Ryan adaptations yet: neither Clear, nor Present. 

The first Star Wars film in nearly a decade doesn’t shake up the formula: instead, it’s a lively if inessential extended episode of the series. But Mando remains cool, and Grogu remains cute

An occasionally interesting but over-stretched attempt to recount Putin’s rise to power, best appreciated for the few moments in which Jude Law appears.

The creatively gory fighting and amusing — if shallow — characters just about compensate for the paper-thin story. But at its best, it’s a lot of dumb fun. 

A sequel that serves its characters with a fresh story instead of relying solely on the tropes of its predecessor. This high-fashion tale could have benefited from higher stakes, but Streep and company remain as in vogue as ever.

It is a committed ensemble that sells this flock’s love for their shepherd, and while the tale often treads on familiar ground, it is in the bond between these animals and their owner that the film finds its woolly heart.

Cox evidently harbours a profound love for his homeland, and it’s nice to see Alan Cumming and Shirley Henderson speaking in their native Scottish accents for a change. But while it may inspire you to book a Highland holiday, there’s little else to take away from such a soppy passion project.

Hugely impressive musical and dance performances from the two young men playing Michael Jackson cannot shake off the uncomfortable fact that there is an entire other side to the pop star’s story which is entirely conspicuous by its absence here.

A daring reimagining of an oft-told story, Kiss Of The Spider Woman features some sensational musical moments that nicely hark back to classic Hollywood, but struggles to reconcile two very different worlds.

More shallow than The Shallows, and lacking the depth of even Deep Blue Sea, this has chuckle-worthy moments but will be forgotten roughly 47 metres down in the lower-echelons of shark cinema.

Parts of Outcome work a treat (see: Martin Scorsese). Shame, then, that long stretches give in to blunt parody, leaving the feeling there’s a much better movie in here somewhere.

Domestic chills, body horror, paranormal scares and gore-drenched action combine in a very distinct but rather uneven — and at times contentious — take on a classic monster icon.

Charming performances from Bailey and Page can’t make up for the crushing levels of cringe. More an underwhelming pasta ready-meal than a fine-dining experience.

It’s thinner than the paper it’s written on, and full of questionable choices — but in a switch-your-brain-off kind of way, this will adequately activate your heist glands. Light the fuze!

The moments of fan service might keep the hardcore happy, but for everyone else over the age of five it’s just a succession of loud, bright things happening without any real point.

Blood-drenched and gore-splattered, anchored by a hard-as-nails performance by Beetz, this is a thinly plotted but immensely fun horrorfest. Best watched with a strong stomach.

A bitter howl at the injustice of the modern world, intellectualised through one of literature’s shrewdest figures. Powerful and eye-opening, but Orwell himself might have preferred a less partisan approach.

It’s nonsense — but at the very least, well-meaning nonsense.