A Jamaican classic with an awesome OST.

It’s a small, lightweight picture but Good Posture is alive to the messy realities of becoming a grown-assed adult, becoming more charming and involving as it goes on. It also suggests a bright future for writer-director Dolly Wells.

This is intentionally jagged but nevertheless frustrating, a little too self-satisfied for its own good. Yet there are some great moments and, when it relaxes a bit, it has charm to spare.

On paper, Don’t Let Go’s premise — a supernaturally flecked crime story with a hint of time travel — should be exciting but it is let down down by workaday writing and routine filmmaking.

Hotel Mumbai benefits from strong filmmaking and an unflinching gaze, yet it lacks dimensions, both in its characters and take on its subject matter. Still, it’s a punchy, promising debut.

An earnest stab at crunching a brilliant breezeblock of a novel down to film-size, but one that fails to pay off. Frankly, you might have more fun watching a pigeon for 149 minutes.

As a last hurrah for a once great action icon, Rambo: Last Blood is a damp squib. Put your headbands at half mast and remember him from his glory days.

The Kitchen flits through scenes, coming across as its own trailer rather than a full movie. And it makes disappointing use of its great components, wasting three chewy, thoughtful core performances.

Both a vehicle for Awkwafina’s formidable talents and an incredibly charming ensemble piece. If there’s any justice, it’ll be remembered when it comes to award-scattering season.

Anchored by a dazzling turn by Samara Weaving, Ready Or Not brilliantly fuses thrills, satire, laughs and horror. Don’t count to 100 — just go and see.

Liam Gallagher: As It Was lacks the narrative shape and drama of previous Oasis doc Supersonic, but provides an interesting snapshot of an artist in transition, both professionally and personally.

For Sama powerfully mixes the personal and the political to thought-provoking, emotional ends. The result is one of the best documentaries of 2019.

Stunningly beautiful and quietly powerful, this is a portrait of a vanishing way of life and of a determined woman who’s just trying to make her way in the world.

A giddily entertaining homage to female power that illuminates bold ambition in its stars and director alike, Hustlers is the kind of era-defining film that Hollywood didn’t know it needed.

Gentle, unchallenging drama for people who already know they like it, this is a nostalgic and rosy depiction of an England that was, surely, never so innocent.

At a time when television is easier to make than films, it's a pity that a quart of plot in a pint-sized pot is largely to blame for this muddled misfire, which wastes some promising ideas and an impressive cast.

With each subplot reinforcing the simmering sense of unease, this compelling recreation of a pernicious period soberingly exposes the ease with which morality can become a casualty of human nature.

A psychologically merciless sequel, everything here is as it should be: deeper, scarier, funnier. Muschietti in particular has stepped up, skilfully guiding us through a rollicking funhouse. It is obscenely entertaining.

Inna De Yard, while not always incisive, is soulful and uplifting in its exploration of the hearts behind the music Webber clearly loves — a feeling compounded by its charming subjects.

Despite the formidable talents of Timothy Spall and Vanessa Redgrave, Mrs Lowry & Son doesn’t really get under the skin of the artist or the man, resulting in a film as dreary as Pendlebury’s colourless skies.

Bold, devastating and utterly beautiful, Todd Phillips and Joaquin Phoenix have not just reimagined one of the most iconic villains in cinema history, but reimagined the comic book movie itself.

Despite an imposing performance by Renée Zellweger, Judy never exposes the dark heart of Garland’s last years, creating an enjoyable backstage drama movie while failing to get under its protagonist’s skin.

Fleeting charm and pretty packaging will leave you partially satisfied but later craving a bolder film that puts its battle-worn title character to better use.

Existential but also intimate, Ad Astra is a stunning, sensitive exploration of the space left by an absent parent — and the infinite void of actual space.

Joanna Hogg paints a precise picture of a woman trying to develop her own artistic vision while caught in the slipstream of a toxic relationship. An understated, exquisite gem of a film.

It’s well-intentioned and pretty, but not much else. Occasional stylistic flourish aside, it offers nothing we haven’t seen before, buckling under the weight of its own conservatism.

A big, lumbering bastard of an action movie sequel. It achieves more-or-less exactly what it promises — which, given this franchise’s track record, is a low bar to clear.

As a mindless summer horror diversion, Crawl is watchable if rarely all that thrilling. The movie’s far from toothless, yet often substitutes easy scares for any real substance, and suffers for that.

The scares and monsters are effectively conjured, but if you’re not familiar with Austin Schwartz’s source material, you may be left a little cold.

A devilishly funny documentary that blends improbable imagery, self-awareness and religious provocation with a genuine sense of political purpose.

Pain & Glory might see Almodóvar working in a minor key but it is a major work, graced with career-best work from Antonio Banderas.

In the Insta age, this paean to body positivity and living your own truth is more than welcome, but you just wish UglyDolls’ message could be more charmingly argued, adroitly assembled and just plain funny.

A little heavy-handed with its moral messaging, this is nevertheless a self-deprecating and diverse tale of discovery. Michael Peña’s take on rave culture alone is worth your money.

JT LeRoy is a decent telling of a fascinating, resonant true story. If it never really fulfils its promise, it’s worth it to see two major talents — Kristen Stewart and Laura Dern — in full flow.

Its kids-say-the-funniest-things gags become one-note, but Good Boys has consistent laughs, winning performances, and a dollop of sweetness to boot.

Maybe it’s fitting Playmobil: The Movie is old-fashioned, stiff and only suitable for those between the ages of four and ten, but it sure isn’t much fun.

There is the odd funny moment, but The Art Of Racing In The Rain relies too heavily on the charms of its golden retriever. It might be built on the notion that dogs are the wisest of us all, but the end result winds up stupid.

Combining both the universality and specificity of Springsteen’s music, Blinded By The Light is an exuberant anthem to the importance of music, the need to be seen and the hope of new possibilities.

Statham and Johnson hold even the faltering moments up through sheer charm, their chemistry never better than when the film lets them lean into the slapstick of two macho doofuses having to work together.

Moving beyond the confines of the app’s premises, The Angry Birds Movie 2 starts slow but flourishes into breezy, colourful fun.

Photograph is decidedly old-fashioned and the outcome is never in doubt but the craft is impeccable, the performances low-key and likeable plus there is something persuasive about Batra’s gentle worldview, his faith in people and love restorative.

Grainger is a revelation and Shawkat a rebel in this delightfully defiant celebration of women’s imperfections. 
Stick with them through the chaos and you’ll be rewarded with an utterly electric tale of female friendship.

The lines between artist and muse are too clean cut to capture the visceral and intimate emotion of two lovers. Broomfield’s approach feels more intrusive than reflective, reducing the private story to public gossip.

The Chambermaid is a poignant portrait of one of life’s have-nots, sensitively played by Cartol as a woman slowly sinking into non-existence.

If it’s not top-drawer QT, Once Upon A Time In Hollywood is at once an engaging buddy comedy, an intoxicating fact and fiction mash-up, gorgeous filmmaking and a valentine to the movies that delivers geek nirvana.

A stylish portrayal of a literal power struggle based on truly interesting historical figures and events. But it tries to take in too much in too little time, when all it needed was to centre on Edison and Westinghouse.

The title Varda By Agnès is apt, a portrait that is both expansive and personal, intellectually sharp but full of fun and heart. A film that is both an entertaining gateway and fitting eulogy to a giant talent.

A gentle and prettily appointed romantic tragedy with likeable performances; but there’s a stultifying blandness to proceedings and an implausible final act.

Despite good performances and an interesting milieu, The Wedding Guest doesn’t deliver as an exciting genre piece or thought-provoking drama. Michael Winterbottom is a master in many areas but the thriller seems beyond him this time.

The 50th anniversary of the moon landings has brought a welter of reminiscences and Armstrong, while entertaining enough, does little to distinguish itself from the pack.

The film soft-peddles any sense of controversy but what emerges is an entertaining portrait of a generous, funny, larger-than-life figure. And the music is sublime.

It’s uneven and doesn’t quite hit the right balance between yuks and yuck, but the charisma of the two stars – particularly Nanjiani – carries it along. A shame to waste Uwais on such a limited role, though.

The great circle of life has thrown up a gorgeous, star-studded story, but trading feeling for realism means that we lose something of the original film’s excellence.

It’s a lesser Jarmusch, yes — but it’s still a Jarmusch.

Lacking the style and scares of the better Conjuring movies, Annabelle Comes Home plays its tantalising spookhouse concept a little slow and far too straight.

If Never Look Away is no The Lives Of Others, it is also a cut above The Tourist. A strongly crafted, ambitious, occasionally absorbing dissection of a fascinating period in German culture, it is perhaps too middle-brow and broad for its own good.

A visceral, unique, utterly f**ked-up experience that demands to be seen on the big screen, Midsommar is the horror movie to beat in 2019. Caution: contains distressing amounts of folk music.

It’s not quite the home-run of Homecoming, but Far From Home isn’t far from matching it, with heaps of humour, energetic action, and the answers Endgame left you craving.

Apollo 11 isn’t a film about the facts and stats of the mission to reach the moon. Instead, it’s about how it feels to be in space and on the ground as history is made. Stunning, stirring stuff.

A scrappy but soulful delight. Regina Hall brings everything to this nuanced and loving portrait of working women whose stories seldom make their way into the foreground of film.

Sensual, surreal and seriously funny, In Fabric won’t be the right fit for all — but slip it on and you might be surprised.

Making a killer-doll movie out of decent component parts should have been child’s play, but this misses the mark.

Crossbreeding superhero tropes with horror staples was an idea laden with promise. Brightburn is enlivened by trademark James Gunn black comedy, but hamstrung by sketchy writing and a botched sense of dread.

Although sometimes it gets bogged down in the details of drilling, The Hummingbird Project extracts enough entertainment value from an unpromising premise, greatly helped by Jesse Eisenberg finding the humanity in his hustler.

This fourth Toy Story isn’t as essential as the previous films in the series, but there’s no denying the joy of seeing Woody and friends back in action, while once again it’ll likely leave you with a tear in your eye.

Unasked for, unnecessary but unexpectedly enjoyable.

Scorsese is the Bob Dylan of cinema – poetic, truthful, idiosyncratic – and Rolling Thunder, despite some longueurs, is an important document of a major artist – by a major artist.

It sounds like Big Brother on a boat, but The Raft is an absorbing portrait of a bold (or foolhardy) historical experiment that hits many of today’s hot-button topics, dominated by a compelling and complex central figure.

Better than Last Stand or Apocalypse but never hitting the heights of X2, Dark Phoenix thrives when its heroes are front and centre. If this is the end, it’s a solid rather than spectacular goodbye.

Late Night is sharply written and warmly enjoyable, with Kaling and Thompson on endearing form. But a few extra knock-out gags and a clearer focus would really help it in the ratings.

There should be something fun in watching Academy Award winner Octavia Spencer drop C-bombs and go apeshit. Instead, Ma is an ersatz, misjudged exercise in psycho-horror that lacks the courage of its B movie convictions.

Dramatically, Thunder Road is a little thin, but the plot’s not the point: this is all about Cummings, who sparkles with charisma and confidence. It’s an unabashed indulgence.

Globe-trotting but not adventurous, action-packed but not remotely exciting, utterly overstuffed and completely paper-thin. Nuke it from orbit.

A sequel that feels less necessary than willed into being, but that doesn’t mean it’s not pleasantly entertaining. There are more fluffy animals than in the first movie, more set-pieces and about the same number of laughs.

Another lavish and largely entertaining Disney re-do, with strong turns from Massoud and Scott. But, appropriately for someone playing a huge, powerful entity trapped in a tiny ornament, Smith’s genie performance feels disappointingly constrained — both by overdependence on the original and some ghastly CGI.

No ceremonious life lessons here — Booksmart lives in a euphoric moment of unapologetic youth that knows what it deserves. Cherish it, revisit the time capsule of our boisterously ambitious era endlessly.

Beats is a truly heartfelt rites-of-passage tale — an immersive, intoxicating portrayal of the rave scene at its peak.

Guerra and Gallego offer a masterful, compelling reimagining of the crime drama within the specific ethnographic milieu of a tribal people weathering dangerous change. Unforgettable images in service of a strange, poignant story.

A sequin-encrusted delight. On paper it reads like a by-the-book biopic; on screen it explodes with the kind of colour and energy that only Elton John himself could invoke.

Showing more enthusiasm than aptitude, this earns ‘could do better if it tried’ on its report card — but it’s a strange enough genre mix to be vaguely worth a look.

A drama of upper-middle-class menace that can’t quite bring itself to be a full-on slasher movie, this has a few too many clichés but offers some creepiness and decent performances.

The Hustle buckles under the overbearing weight of its own vulgarity. Avoid the dirty rubble by all means. An embarrassment to the heist genre, an insult to all existing comedies, a disgrace to feminism.

Combat-heavy pulp of the highest order, this is the most enjoyably over-the-top entry so far. Where else can you get samurai dogs and a Tarkovsky reference?

A film as much about its form as content, Madeline’s Madeline is a difficult-to-watch but heady mixture of raw emotion, big ideas and cinematic fireworks. If for no other reason, see it now to be on the ground floor at the unveiling of a new star: Helena Howard.

Reeves and Ryder work very hard to make Destination Wedding work, but deeply unlikeable characters and a clunky script means there’s no escaping the fact it’s a disappointing misfire.

A sci-fi thriller starring Robert Pattinson suggests that Claire Denis has gone all mainstream. But High Life is the filmmaker at her most dark, a mesmerising, patience-testing, violent exploration in the darkest reaches of outer and inner space.

A glowing tribute to The Beatles and their music, this is both a toe-tapping pleasure to watch and a smart, occasionally scathing look at how we get things wrong.

Despite lashings of bright red gore and the obvious enthusiasm of its gibbering hordes, Redcon-1 is a hard slog. Nearly two hours of grunts vs zombies feels punitive.

It’s impossible to overstate how much this film owes to Ryan Reynolds. Even if you don’t understand Pikachu’s world, everyone can understand a great joke superbly delivered.

Karukoski’s entertaining film boasts flair and narrative ambition, but ultimately fails to completely break free of its traditional biopic frame.

Even if it doesn’t quite go beyond the bubblegum, Corbet’s fusion of A Star Is Born melodramatics with art-house stylings is cold, raw, dark filmmaking. And Portman, like her quiff, is an acquired taste but immense.

Seemingly wishing to start another Conjuring off-shoot, this will be lucky to get out the gate. Without an original or fresh bone in its body, The Curse Of La Llorona smacks of unelevated horror for the very easily scared, not to mention pleased.

Asking questions of moral beliefs and societal responsibility, a plausible dilemma is framed like a fairytale. While the storytelling is neat, aesthetic quirks that entertain also remove any potential urgency.

Efron gambles with his image, but he knows when to up the star power. It’s perhaps fitting that the film falls flat when he, playing a killer who loved the spotlight, leaves the screen.

Finding laughs in the current global political quagmire is a tough ask. But Long Shot manages to spin a winning mixture of warm-hearted fantasy and comedic edge. And Rogen and Theron shine.

Styx is a gripping sea adventure that mixes thrills and spills with thoughtfulness and compassion. The MVP here is Wolff, who superbly etches emotional disintegration alongside amazing physical prowess.

Jia’s grip slackens slightly at the end but, especially in its middle section, Ash Is Purest White is engrossing, surprising and affecting, held together by a towering performance from Tao – her gaze alone should carry a licence to kill.

Bel Canto pushes a hard message about cultural misconceptions and boasts a promising and diverse cast, but only really makes an impact in the first and final minutes.