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.

A victory lap that moonwalks through the best part of the MCU back catalogue and emphasises emotion as much as action, this is an intensely satisfying piece of blockbuster filmmaking.

The anxieties of a teenage girl weigh universally heavy. Burnham brings wisdom and immediacy to a generation raised online, his debut feature already cementing his presence as a remarkably sensitive filmmaker.

As well-constructed, unique, hardboiled and brutal as Zahler’s prior films, but this one leaves a less welcome bad taste in your mouth, thanks to its repugnant heroes and racial stereotypes. Impossible to dismiss, but hard to warm to.

Despite strong performances from Cookson and Dench, this potentially exciting espionage tale is dreary and forgettable.

Despite a familiar, somewhat tedious set-up, Greta truly comes into its own in the final act, a ’90s thriller throwback elevated by Isabelle Huppert tearing up the scenery and dancing all over it.

The Man Who Killed Hitler And Then The Bigfoot is a strange but enjoyable mishmash of genres and ideas held together by the gravitas and class of Sam Elliott.

Either choose to dwell on Little’s formulaic storyline, or be charmed by the confident comedic performances of its three stars. One will lead to an infinitely more fun time at the movies.

Plenty of shock and gore, and David Harbour is more than worthy to wear the horns. But this is a reboot in need of a reboot.

Jessie Buckley impresses again in the story of a woman who wants and needs so much more. A seemingly well-worn narrative becomes a more interesting look at the responsibilities and rights of being a mother with a dream.

Mid90s is funny, observant and true. If the Wu Tang Clan and Ren & Stimpy references don’t resonate, the portrait of finding your people and them schooling you in the world will. Swear-y and lovely in equal measures.

Happy As Lazzaro is s-l-o-w and its narrative twist will alienate some. But this is deliberate, singular filmmaking, at once poetic and down-to-earth, from an unsung talent. Let’s be clear: Alice Rohrwacher should cherished.

Wonder Park has some fun bits (a narcoleptic bear) and a worthy sentiment around the value of going through tough times but it’s too hectic and untethered to land its loftier ideas. It aspires to be Inside Out but falls way short.

A decent, if inessential, take on one of Stephen King’s best novels. Sometimes original is better.

A charming family-friendly story about adventure and friendship — told with bar-raising artistic craft and technical skill. We’d expect nothing less from Laika.

An eccentric, funny yarn filled with eccentric, funny characters, Audiard’s oater deftly twists Western tropes, sending its charming, ramshackle heroes scurrying from one bizarre incident to the next.

An impressive sift through one of the UK’s weirdest pop-cult phenomena, even if it doesn’t manage to unpick the strange relationship between Sievey and Sidebottom.

An enchanting blend of Disney twinkle and Tim Burton’s dark whimsy that’s at its best when venturing off the beaten path. Come for the super-cute elephant, stay for Keaton and DeVito’s glorious reunion.

The hardest power to depict onscreen is the wisdom of Solomon, but Shazam! makes clever decisions, mixing middle school snark with disarming sweetness. And — yes — it delivers the requisite lightning-strike punch-’em-ups with considerable force.

Sprouse and Richardson are proven heavyweights in the young-adult pocket of Hollywood, but this soft-hearted teen romance spreads on sugary sentiment too thickly to leave a lasting message.

A stunning sophomore effort from Jordan Peele.

An interesting, challenging mess. The White Crow offers lots that’s impressive — Ivenko as Nureyev, the dance sequences, a knuckle-whitening last 20 minutes — but can’t render it in a dramatically engaging way.

Its skating sequences are impressive, but it’s the intimate examinations of fracturing friendships and emerging adulthood that make Minding The Gap surprisingly resonant.

The storytelling is a little loose, but as a workplace comedy with a side-line in romance, this earns its laughs thanks to the immensely game Henson and a stellar supporting cast.

Ben Is Back begins with nuance but is let down by its familiar Drugs Are Hell tropes. Still, the pairing of the ever-excellent Roberts and Hedges keep it a largely compelling watch.

Under The Silver Lake is gorgeous to look at and listen to, with moments of genuine panache, but its wilfully labyrinthine plot will have limited appeal.

Ray & Liz is undoubtedly a difficult watch, a searing portrait of a family that has come apart at the seams. But, creating an astute sense of atmosphere and detail that come together to make meaning, Richard Billingham marks himself out as a filmmaker to watch.

Small-scale and slow, The Kindergarten Teacher works best as a showcase for the brilliance of Maggie Gyllenhaal. Adding another complex character to her resume, it’s another reminder she is among the best actors working today.

Instructive, insightful and inspiring, Maiden is a rousingly riveting record of a remarkable accomplishment that says as much about British bloody-mindedness as it does about feminist fortitude and underdog pluck.

Triple Frontier is engaging in parts with well-mounted action. But the characters lack definition and you can’t help but think an old timer like Howard Hawks or Sam Fuller might have done it better in half the time.

As a Nick Fury buddy comedy, it’s fun. As a feminist fable it’s essential. This takes a while to really get going, but when Carol Danvers takes off she is unstoppable.

Telling an age-old story in a singularly original way, Border is a compelling, sometimes excruciating fairy tale for our times — with a bizarre sex scene to rival Team America’s.

Serenity is a genuine headscratcher, baffling on almost every level. Badly scripted, strangely acted and poorly pitched, there is so much to pick over it’s hard to know where to begin. Sometimes the best of bold intentions are just not enough.

Isn’t It Romantic had us at hello but loses its spell when it has to develop its plot. Not as smart or sharp as you’d hope, it still delivers a lot of fun for those who can’t resist a bad Katherine Heigl flick.

The bones of the story have been played a million times, but a talented and committed cast make this swoonsome rather than samey.

This is a sexually frank and arrestingly tender perspective of a young man in freefall. It occasionally leans too far into the horrors of street prostitution, but it’s mostly an open-minded view of its shiftless main character.

A soft-spoken yet chilling domestic horror film that tells its slightly overfamiliar tale effectively, with strong performances, quietly disturbing atmosphere, one or two friendly clichés, and good, old- fashioned scares.

Packed with plenty of heart and relatability — and a powerhouse performance from Jack Lowden — it never fully resolves the tension between the grit and glamour of the wrestling worlds the Knight family inhabit.

It’s not a hugely innovative biopic, covering just a short period of Bader Ginsburg’s extraordinary career, but this is still a vastly inspiring account of the fight for equality.

A typically taciturn turn from Neeson is surrounded by a colourful cast, gallows humour and complete disrespect for cinematic stereotypes. A little bloated, maybe, but deserves kudos for joining the road not Taken.

Jellyfish is a familiar but compassionately drawn portrait of hardscrabble lives, centred by a terrific performance by Liv Hill.

It goes nowhere fast and Kechiche’s camera consistently ogles his female cast but he remains a terrific director of actors, the intimacy and authenticity conveying a real lust for life to sweeten the hefty running time.

With two astonishing child performances, Capernaum is a real heart-breaker. It can make Ken Loach look happy-go-lucky but it’s a gripping, sympathetic cry for the dispossessed.

A motorsports movie you don’t need to be a petrolhead to enjoy. Rev up those whiteknuckle thrillride clichés, you're going to need them.

For all its formula, Instant Family is a winning confection, unafraid to go to unexpected dramatic places and elevated by Byrne’s gift as a comedy foil and Moner’s lively but subtle turn.

What could have been a simple retread or by-numbers continuation instead throws itself headfirst into time-twiddling absurdity. High art? No. A total blast? You bet.

A sometimes clunkily executed true-life story which at least has potency in its blend of subject matter and lead actor. Despite often being hard to watch, this is Rosamund Pike’s best work yet.

A quiet and meditative portrait of the artist as a retiree, this lacks incident or high stakes but has an elegiac feeling of regret and reckoning that fits its subject’s twilight years.

More proof that Cornish is a wizard at re-energising tired tropes.The characters are a delight, the action sequences thrum with invention, and when it’s funny, it’s very funny indeed.

Joel Edgerton once again proves himself a gifted filmmaker — but for all the craft, compelling performances and good intentions at work here, the drama itself falls somewhat short.

A sort of Romeo And Juliet with systemic racism replacing the family feud, this is romantic and infuriating, hopeful and despairing. A sensory, desperately emotional experience for lovers and fighters alike.

Best enjoyed for the fun, slick action and the astonishing, super-expressive realisation of Alita herself, because elsewhere it’s cyberpunk business as usual, marred by some sloppy plotting.

Escape Room is like The Crystal Maze with more death. It’s fun at the start then loses its way, but it’ll do until ‘Flossing: The Movie’ comes along.

So insubstantial it may not actually exist, The Mule is very much the latest in a long line of minor Clints. But it might help pass the time on long journeys. Just make sure you don’t watch and drive.

On Her Shoulders is a compassionate, level-headed portrait of a remarkable woman. What it lacks in filmmaking fireworks, it makes up for in the sheer magnetism and moxie of its hero.

Regardless of the skittish structure and illegible subtitles, this is a valuable reflection on an incalculably influential career, which serves as a timely reminder about the pitfalls of artistic tyranny.

A moving hymn to outsiders, this thrives on two criminally good performances from Melissa McCarthy and Richard E. Grant. It also confirms Marielle Heller as one of the brightest directorial talents around.

A supremely likeable film. Its message might seem obvious and its template overcooked, but it boasts a warm heart, with two astoundingly good lead performances to guide it home.

Slow and difficult to get a hold on, Burning emerges as a brilliantly made one-off; puzzling, intelligent and ultimately mesmerising. And Jong-seo Jun is a revelation.

DreamWorks Animation’s most heartfelt series bows out with a beautifully designed finale, but the long-awaited emotional goodbyes for its beloved central duo don’t quite soar.

One Cut Of The Dead is a true original, a fresh take on the zombie apocalypse drama and much more besides.

The ham-fisted lessons and wacky adventuring are just a skeleton on which to hang the meat of the thing: gorgeous, stunningly realised animation; frequent self-referential shrewdness; and still some of the wildest, most surreal jokes you’ll find in any movie.

A grim, dour dive into one LA cop’s unravelling, which centres on a truly transformative performance from Nicole Kidman.

It doesn’t do anything different from the original, but the upside to The Upside is two strong, winning performances that keep you going down a well worn path.

A based-on-fact family drama whose truths may hit too hard for some, but are worth suffering if only to witness Timothée Chalamet’s performance.

Essentially a Split sequel with an Unbreakable topping, this is weaker than either of those films but still has a decent amount of entertaining and creepy sequences, most of them due to McAvoy’s high-commitment performance.

Challenging the truism that you can never go home, this doesn't entirely integrate its political subtext. But the storylines are involving, the setting is picturesque and the performances are impeccable.

A sharp-witted and wide-reaching account of a bright political hope’s fall from grace, with an impressive ensemble cast and a great performance from Jackman.

Coogan and Reilly’s performances are among the best either has ever given. This film, which pays wonderfully funny tribute to two comic legends, richly deserves them.

It's a film that bores straight into your soul and leaves you shattered, but somehow richer for having seen it.

Despite good moments and an ambition to reach for the profound, Life Itself settles for trite, sentimental and patience testing. A killer cast deserve better.

This is the origin film we really need right now. Directors Cohen and West have brought a liberal trailblazer’s fascinating and largely untold story proudly into the spotlight.