Like any holiday, it is episodic and suffers from repetition but this is gag-for-gag the funniest film of the summer and a fitting end to a much-loved series. So long boys, it's been great to know you.

If Fosse's film fails to capture the man or his art completely, it remains a damn good place to start.

Silly, witty, extremely British — this is a family film made with a very Aardman-y kind of craft and care. A good egg.

Fresh, funny and frank, Saint Frances is a welcome shake-up of tired genre clichés; a messy, uplifting story about a woman who may not have everything figured out, but is fully in charge of her own fate.

Compelling and vivid, it's another fine piece of work from an up-and-coming talent.

Likeable Robert Townsend — who also co-wrote and directed — is a delight in this patchy but consistently enjoyable chronicle of a young black actor’s efforts to crack Hollywood.

One of the most worthwhile sequels of recent years, maybe funnier than the original as it intelligently expands the potential for the surreal and it ties up all the loose ends managing, quite remarkably, to give pointlessness a purpose.

Filipino maven Diaz delivers a bravura, literary human drama that does justice to its great source material.

What gives the film its layers is the refusal to cut straight to the music.

News Of The World is narratively slight, but it is a terrific showcase for two actors at completely different ends of their careers and a quietly emotional dispatch about two broken souls learning to heal.

Renaissance: A Film By Beyoncé achieves total Beyhem, a riot of colour, spectacle, inventive staging, stunning vocals and gorgeous grooves. As a self-portrait, it might not delve as deep as you’d like, but it offers a thrilling lesson in what it takes to be a pop icon.

Stark, bold drama.

The only fireworks here are of the indoor kind, but this sensitive, beautifully acted film lingers long after the final frame. And the Newfoundland locations are breathtaking.

Hugely affecting and perfectly played, Nowhere Special is a peach of a picture.

Touching and funny. Waters fans should sign up now.

We must surely now be getting close to some sort of zombie saturation point, with even the zomromcom becoming a distinct subsubgenre. On Beth’s evidence, however, there’s life in the undead yet.

Butler’s best star vehicle in years, what could have been a bombastic bunch of boulders is, instead, a refreshingly clear-eyed and compelling affair. One of the best disaster movies in years.

The Lego Movie is bursting out of its box with enthusiasm and excitement for the possibilities of a little pile of nubby plastic.

As with most Cassavetes' it is Rowlands who steals this show, this time expertly playing the happy housewife slowly going off the rails while Falk plays the part of her bewildered husband. At two-and-a-half hours, it could easily have dragged but with such strong performances, you're left wanting more.

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

An affecting reflection on the loneliness we will all have to face at our end, held together by Vicky Krieps's poised display of unself-pitying despair and liberating acceptance.

A holiday romance perfect for the dark nights with the added bonus of a flashback structure that builds genuine intrigue into the outcome. It also includes a use of Rod Stewart’s ‘Sailing’ that guarantees its place on your 2020 movie playlist.

As ultraviolent as the first film, and as ultrasmutty, The Golden Circle will leave the Kingsfans grinning, even if its characters have less growing to do this time around.

Psycho’s accepted greatness means we can leave it on the shelf as we look for newer sensations. This prompts an urgent desire to revisit it.

By no means perfect - a twist in the tale overextends its already lengthy running time - but it is terrific fun.

The dirty compañeros of the old Spaghetti West ride again in this stirring tale of hate, murder and revenge.

A modern love story with a dash of Cronenberg for good measure — a brutal portrait of messy, intense long-term love. Warts, blood, bones and all.

Girls meets Ocean’s Eleven, The Bling Ring might be a film for right now rather than the ages, but Sofia Coppola’s heist movie is visually arresting, well acted, capricious fun.

Truly delightful. Wes Anderson leans into his trademark eccentricities for a trip to the desert that won’t win any converts but will keep the Anderson faithful content.

It might not feel fresh but Palo Alto feels real, honest and moving. An impressive debut by an exciting new talent.

Saturday Night Live activist Murphy, capitalising on the promise he showed in "48 Hrs.," steals the show as the quick-witted Billy Ray Valentine in what is certainly more mainstream fare than the earlier SNL staffed capers.

The sometimes dark sci-fi thriller tone is punctured nicely by Quaid's one-liners, and Capshaw is on good form. Very, very '80s, but lots of fun too.

The world Jordan envisions is desperate, but Hoskins’s human heart offers a lovely thread of hope.

Mulan serves up the sort of classic entertainment the Magic Kingdom was built on: stunning animation, sharply defined characters, a smattering of catchy tunes all seamlessly woven into a simple, powerfully told yarn.

With a committed, crazed, brilliantly calibrated performance from late-Renaissance Cage, this is a feverishly good thriller: surreal and strange and sticky.

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

Lyne's efforts to be both passionate and artistic are generally successful, although a few sex scenes are disturbing and arguably close to salacious.

An early entry into documenting Covid-19, Totally Under Control doesn’t have all the answers, but it is a vital, powerful examination of how one political administration could get something so wrong by ignoring the experts.

This charmingly odd tribute to Sorrentino’s formative years is slighter than it possibly deserves to be, but when it’s this handsome, who cares? Will have you absolutely salivating for Italy.

Hargrave, a stuntman turned director, knows where to put his camera for maximum impact, and genuinely disturbing foley work showcases sounds of crunching bones and splattering blood. You feel every punch land.

Hokum isn’t just hokum. On top of an affecting personal quest for a non-despairing ending, it delivers a full evening of scares, chills, wicked jokes and haunted escape-room hijinks.

This 1967 Ming Dynasty epic may lack plot complexity and period spectacle. But the stand-off in a remote inn is flecked with tension, wit and slick martial artistry.

A slick thriller which takes place in a moral vacuum. It's fascinating rather than exciting, but makes for chilly thrills with two strong, charismatic lead performances, a great deal of style and amusingly repulsive, ruthless twists.

Patricia Clarkson steals the show, but everyone in Potter’s gifted cast gets their moment to shine in a sharp-edged, claustrophobic parlour piece that puts the boot into middle-class mores.

Darkly funny as it descends into farce and ends on a chilling final note, Mountainhead is, unfortunately, truly a film for the 2020s. Just don’t chase it with a doomscrolling session.

Ridiculously good.

Deftly played and beautifully photographed, this may lack depth, but its observations on human transience are deeply moving.

Significantly grittier than previous Bat-beginnings, this finds new things to do with, and say about, a character who's been around since 1938.

It's a mostly winning combination of sassy humour and sentiment, enlivened by some fun "newsreel" recreations that catch the period flavour of a sport adopting showbiz tactics - flirty-skirted uniforms, cheesecake stunts and skin-scraping do-or-die game plays - to attract the crowds.

A fiery condemnation of the police state and government overreach, this is both timely and timeless. Sorkin and a superb cast make legal proceedings compelling, and then show that the law is an ass.

A papal thriller that treads on eggshells, Conclave is one of the year’s most deftly balanced films. Pulpy and pensive in equal measure.

A confident, ambitious and action-rich Brit thriller, albeit one whose characters and clarity suffer from the frantic intensity of its pacing.

Just as with "Once" and "Begin Again," Sing Street will make you laugh, cry and leave you humming its songs for days.

A eye-popping visual treat and a journey into the creative spirit.

Black proves the perfect blacksmith, forging smart new tech and scenarios for the swaggering super-genius. If this does turn out to be Downey Jr.’s final solo outing, it’s a very strong exit.

Broader and more accessible than either "Shaun Of The Dead" or "Hot Fuzz," Paul is pure Pegg and Frost - clever, cheeky and very, very funny. You'll never look at E. T. in the same way again.

Hawke is compelling, offering a magnetic portrayal of an exasperating but deeply charismatic, engaging figure.

For once, a great remake, smartly executed. Great performances and a killing ending that will stay with you forever can't hurt, either.

It lacks filmmaking fireworks but Liberal Arts is a B+ for Josh Radnor: strong writing, great performances (Olsen is the real deal) and a touching, upbeat tale for the big-brained and big-hearted.

In anchoring the whimsy to something more heartfelt, Burton is greatly aided by Billy Crudup, who underplays potentially cringeworthy bedside scenes with his dying dad.

If it adds little in the way of dissenting voices or a different viewpoint, Explorer tells the tale of a remarkable, stranger-than-fiction life and emerges as an affecting, entertaining portrait of a true eccentric.

Another aching heartbreaker of a film by Berri that absorbs and rewards the audience for sticking with Manon on her sun-beaten quest.

The intricate work of a craftsman, and a beautiful appearance by the beguiling Simone Sigornet.

A spry police procedural fused with an achingly intense romance, Decision To Leave keeps you off-kilter throughout, in the best possible way. Make a decision to see it.

Partly the story of a music scene, but mostly the story of a man who realises that living the dream isn’t always the best thing for your life. Vivid, immersive and blessed with a perfectly nostalgic soundtrack.

A tough but very rewarding watch.

If it falters early on, The Summit Of The Gods emerges an astonishing work of animation of both intimacy and incredible scale, stunningly well-crafted and smartly adapted.

Action filmmaking at its best; a career high for director Harlin and arguably Stallone as well.

Hood handles his material so deftly that a conclusion which could have been mawkish and sentimental is instead bittersweet, both painful and quietly affirming.

Warm and thought-provoking portrayal of a journey and a man coping with the onset of age and all that might mean.

Undeniably funny and gooey to boot, Slither may not be groundbreaking but it is a rarity: a horror-comedy that does both its genre-parents proud.

Better than Ghost but not as good as When Harry Met Sally, here's a dating movie where the other woman really should have got her man.

Of sentiment there is too much and the final sequence when the white men inevitably rear their heads and raise their rifles so fraught with tears and peril as to be exhaustingly melodramatic.

And Then We Danced is a well-made love story, anchored by a mesmerizing Levan Gelbakhiani and enlivened by electrifying dance numbers.

Beautifully photographed by Mark Lee (who also co-shot Wong Kar-Wai's In The Mood For Love), and delicately played by an untried cast, this confirms Tian as the Fifth Generation's unsung master.

A touch too heavy on the Faust scenario, this is nevertheless a typically powerful effort from Stone especially strong on the nightmarish aspects of the war, as when a simple misundertsanding instantly becomes a massacre...Gripping stuff

Combining comedy, cringe and creepiness, All My Friends Hate Me is a short, snappy and seriously entertaining spiral into peer-related paranoia.

One of the year's originals - frantic, unpredictable and very, very funny. Remove brain. See loud.

A devastating heart-stab of a movie, this certainly isn't a family film. It is, however, a beautifully constructed, animated drama.

Director Pablo Trapero seals his enviable reputation with this exceptional study of isolation and grief.

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.

Strongly acted and effectively staged, The Boys In The Band has lost little of its impact in the five decades since its first debut, and is a fitting tribute to its creator Mart Crowley, who died in March.

Outstanding account of a pivotal moment in small-screen history.

Baumbach’s drama of grown-up kids seeking emotional restitution sees Sandler and Stiller at their best. If it feels like familiar turf for the writer-director, the emotions here are rawer than ever.

A history lesson with more fire in the belly than most. It turns out that a feminist angle really can revive the same old Tudor psychodramas, thanks in large part to Ronan and Robbie’s authoritative performance.

Bob Odenkirk continues his late-career action streak with a satirical and stylishly violent take on the small-town-under-siege movie. Ben Wheatley meets John Wick? Oh, go on then.

Powerful, terrifying and soulful, this real-life Hurt Locker is an intimate, often brilliant insight into combat and comradeship.

Impressive scope, storytelling and sensitivity makes this a fine capture of Irish abortion rights history being made and the beautiful spirit of the campaigners who fought to push their country into the future.

Okay, so it does cloy in places, but there is truth in its fractures and its seals, a soft-shimmering landscape of real people.

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.

Odd-number curse be gone. The most exhilarating Trek to date marks a new future for Kirk and co. If this can boldly go on to seek out ideas to match its speed and style, a franchise is reborn.

Superbly written and performed by actual friends Kyle Marvin and Michael Angelo Covino, The Climb is a smart, funny, small-scale delight. More please.

Gothic, iconoclastic, engrossing, slyly excoriating of modern-day America and very funny to boot, it’s another solidly satisfying whodunnit from Benny B. Keep them coming, please.

A triumph of painstaking technical prowess and stunning visuals over storytelling and dialogue. See it for its nuanced take on a huge cultural figure and to applaud its astounding audacity.

A rich and imaginative evocation of a family in turmoil.

Deftly handled direction from Sophie Hyde and a thoroughly impressive dual performance from Emma Thompson 
and Daryl McCormack enlivens an electric script, tackling taboo sexual subjects with wit, flair and welcome realism.

It's a credit to Hákonarson's poised execution of his own bare-bones script that both worst- and best- case scenarios seem possible once Inga finds allies in the community.

With Pendleton inhabiting three different bodies in the course of 93 minutes, this was quite an intricate storyline for a Hollywood comedy. But Alexander Hall (an unsung journeyman whose credits included Shirley Temple's Little Miss Marker) kept the action briskly accessible, even where Death was involved.