With its predictable story unlikely to leave a lasting impression, it’s left to Chaplin and Tena’s natural chemistry and performances to make Carlos Marques-Marcet’s second feature-length film worth your while. Which they do. Just.

Entertaining, and occasionally inspired, but Ralph Breaks The Internet is too often content to achieve a quick laugh, rather than exploring the themes its set-up suggests.

Mat Whitecross draws compelling lines between Coldplay’s past and present in a documentary as colourful and optimistic as its namesake album. It’s one for the fans — even the ones too reluctant to admit that they are.

Despite its story-telling ambition being two sizes too small (much like its hairy protagonist’s heart), The Grinch is impossibly cute, visually rich and boasts enough festive fun to satisfy young viewers.

An emotionally rich documentary that wows both as a technical achievement and an unforgettable portrait of a terrible period of 20th century history.

This isn’t an atrocity on the level of, say, Rob Zombie’s Halloween — but it is a horror designed to test your patience rather than your nerves.

A dour, plodding experience that's cold in every sense.

An enjoyable foray into JK Rowling’s imagination, bolstered by a more appealing Eddie Redmayne, but you can’t help feel The Crimes Of Grindelwald is still treading water until future chapters.

As sweet as a sugar plum and only slightly more nutritious, this shows scars from a tumultuous road to the screen but still emerges as a whimsical, likeable fairy tale.

Tempering its flights of fancy with moments of whimsical humour and kid’s-eye realism, this thoughtful treatise on growing pains reveals a realist side of Japanimation that’s all too rarely seen.

Orson Welles’ final film is an infuriating, brilliant, personal sign off, filled with stunning images, wit and bravura to spare. In short it’s everything you hoped it would be.

With the help of a staggering ensemble cast, Steve McQueen has made an intelligent, emotional thriller that contemplates contemporary American politics as confidently as it does blowing shit up.

A beautifully observed study of an American family coming apart at the seams, it not only establishes Dano as a director to watch, but features an extraordinary performance by Mulligan.

Pine supplies gravitas in the lead, but he’s almost a lone voice of moderation. Bloody and brash and as subtle as a trebuchet, this is gleefully entertaining — unless you’re English, anyway.

The Coens take another crazy concept and make it work with a series of stories that will amuse, shock, and even bring tears to your eyes.

Overlord injects a healthy dose of schlock into familiar war-movie tropes to create an entertainingly grungy hybrid, but it never quite kicks into overdrive.

An often effective reboot, this does everything you’d expect, but that’s a real shame.

Echoes of Dog Day Afternoon and Locke reverberate around this claustrophobic thriller, which is tautly plotted, precisely paced and grippingly played by Jakob Cedergren and his unseen co-stars.

Like Queen, Bohemian Rhapsody is three parts good but not terribly exciting, and one part absolute joyful, fabulous entertainment that makes you forget everything else around it.

An uneven but appropriately rousing attack on Trump, which occasionally loses its focus as it makes its bigger, scarier points about the United States’ slide into despotism.

A better-than-expected entry in the all-too-often neglected sub sub-genre, with Butler showing impressive restraint.

Van Sant never strays far from the man-overcomes-disability genre, but this is more than made up for by some impressive directorial flourishes and an engaging central performance.

A sophisticated adaptation of a hugely important book that adeptly handles its daunting themes, and provides a platform for a star-making performance from Amandla Stenberg.

Some will find this impenetrable and irritating, but audiences willing to tune into Hosking’s off-kilter style will be moved by the ridiculous love stories and relish the hilarious eccentricity.

Smallfoot effectively weaves powerful messages into a fun, heart-warming animation that is sure to appeal to audiences both young and old.

A muddled Wicker Man-inspired horror that has bursts of style, but fails to find depth beneath its blood-spewing surface.

Abetted by Nicolaj Brüel's prowlingly ominous camerawork and Dimitri Capuani's soul-destroying interiors, Garrone proves once again that even the lowest-rung southern Italian gangster can't afford a shred of human decency.

While it doesn’t capture the magic of the original, this Halloween brings much-needed closure to a troubled franchise, with Curtis excellent and Michael Myers pleasingly terrifying again.

By equal turns tense and witty but with plenty of perceptive social commentary to go around, this is a film that only gets more rewarding the more you look under its surface.

22 July takes a helicopter view of a terrifying, unthinkable tragedy, perhaps flying too high to capture all the nuance, complexities and emotion. Still it has great stretches and a terrific performance by Anders Danielsen Lie.

You already know if you’ll enjoy a film where LSD-crazed leather daddies are summoned via something called the Horn Of Abraxas. A no-holds-barred ride into madness destined for a thousand midnight screenings.

A fascinating documentary that captures all the glamour and grubbiness of the 20th century’s most famous nightclub. All the thrill of being there with none of the hangover.

Venom is neither triumph nor train-wreck. It’s a mediocre origin story, a superhero host that sadly fails to bond with its comedy parasite. Which is a shame, as there is enough here to to suggest it could have been a blast.

Hold The Dark is rather unwell. Both intimate and epic, it is appropriately cold, resisting warmth at every turn, more a philosophical adventure than an emotional one.

A minor-key coming-of-age triumph that manages to simultaneously be relatable and wildly distinctive. Will almost certainly have lapsed, adult skateboarders (unwisely) dusting down their decks.

Unfocused and uninspired, Night School has its moments but is held back by a script that required more study.

Blue Iguana grates on pretty much every level, a misjudged hodge-podge of ill-defined characters, tired filmmaking licks and an air of general unpleasantness. It also contains one of the worst shootouts in recent memory.

A beautifully staged film with everything in its place, this is both an affectionate homage and a timely commentary, falling only slightly short of its own ambition. Classy pulp fiction.

Black 47 lacks the seriousness and rigour of other displaced Westerns like The Proposition and Sweet Country. But Lance Daly’s film is gripping enough to suggest Ireland’s tragic backstory is a frontier full of resonant riches.

A tense and nasty thriller, Mile 22 is a frustrating experience that makes you wonder if Peter Berg should stick to depicting real-life tragedies instead.

This is often upsetting (though never to the levels of Irréversible) but as energetic and handsome as its cast. At times you’ll be watching in horror, but you’ll never look away.

This lacks the sting in the tail of something like the similarly post-War The Others, but it offers a soupy atmosphere of low-level dread and paints a devastating portrait of a vanishing age.

Watching Blake Lively and Anna Kendrick trade barbs is entertaining, but Feig’s first thriller suffers from an unconvincing plot and inconsistent tone.

Whether rediscovering La France périphérique or hurtling through the Louvre, Varda and JR make a surprisingly empathetic team and their collaboration is as provocative as it is poetic and poignant.

An intimate, illuminating doc that puts the focus on M.I.A.’s activism instead of her music and is, in some ways, all the more admirable for it.

Close gives a performance that demands the Oscar voters consider her for a seventh time, and with Pryce matching her barb for barb, this is a heavyweight piece of theatre that grips whenever they’re on screen.

For all the gags flying around, and all the friendly insults batted between Blanchett and Black, the script lacks the sparkle and polish of many of the classic Amblins it so enthusiastically emulates.

An old-school film about an old-school crime that brings together an impressive array of British legends. Solid, but sadly the results don’t exactly blow the bloody doors off.

Uneven, occasionally unsavoury and at times frustratingly muddled, but there’s enough bloody, ’80s-style fun in The Predator to give it a pass from long-term fans.

Astonishing. The definitive take on a monumental moment in history — without ever losing sight of the man underneath the visor.

It might look like a quirky take on the sports movie, but Puzzle is in fact an astutely crafted character drama, featuring a superb central performance from Kelly Macdonald.

A coming-of-age story which thoughtfully and heartfully tackles the repellent practice of conversion therapy. Moretz is excellent, but this summer camp/institution drama cocktail could have done with a little more fizz.

A nice idea, and the setting makes it instantly more interesting to a UK audience, but it’s let down by lapses into cliché and by simply not being audacious enough with its action set-pieces.

Chekhov is notoriously difficult to film and this adaptation boldly taps into the play's mordant wit. But the fidgety and over-emphatic visuals detract from the themes and the stellar performances.

Lucky is a profound, wry, slip of a movie carried by Stanton’s moving performance. It is a fitting curtain call; one of America’s great character actors might just have saved his best for last.

A thoughtful and thought-provoking look at identity, aspiration and a precarious way of life, this is anchored by a stunning performance by Brady Jundreau and inspired direction by Chloé Zhao.

The real nun in the movie is the heroine, played by a spirited Taissa Farmiga, and the dramatic weight falls on her able shoulders.

A remarkably assured directorial debut from Bradley Cooper who turns in a career-defining performance opposite a promising Lady Gaga. A remake that captures the tone and spirit of prior films, A Star Is Born still blazes its own heartfelt, authentic path.

Neither a luridly enjoyable piece of Scarface-style pulp or a nuanced genre subversion, Idris Elba’s directorial debut is a fitfully entertaining 1980s gangster thriller.

Pawlikowski is in complete control of the form, but this is no austere piece of work — he even finds time for a few good jokes. Accessible, humane and compassionate: what a treat this is.

It’s way over the top in its style, which is a good thing, but grounded with realistic, loveable characters. This is a romcom milestone and the best thing to happen to the genre in years. It’s crazy good.

The smart visual trickery lifts what might otherwise have been a fairly conventional thriller, but it also lets Chaganty say some interesting things about our online lives. Technophobes should stay away.

If it sometimes lapses into genre clichés, Upgrade still delivers on the action front. Just turn your phone off before you go into the cinema, lest it gets ideas.

If it lacks filmmaking fireworks and emotional wallop, The Children Act delivers a sensitive, thoughtful drama about complicated issues. And it is another reminder, if one were needed, of the subtlety and skill of Emma Thompson’s stratospheric talent.

Promising source material and a talented cast are squandered in a stale, rigidly formulaic J-horror wannabe. Slender Man equals slim pickings for all but the most undemanding devotees.

Who Framed Roger Rabbit meets Meets The Feebles, in a disappointing adult comedy that never lives up to the promise of its premise.

If it’s surprisingly sweet-sounding subject matter for Albert Hughes’ first solo film, he treats it with respectful seriousness. It’s a family movie but one unafraid to show some very sharp teeth.

Dean Devlin finally steps out from Roland Emmerich’s shadow with a tight, twisty little thriller. Add a fourth star to the rating if David Tennant going full Nicolas Cage sounds like your kind of thing.

There are highs and lows here, with a fair amount of shoe leather required before you get to the good stuff. Pretty much like a real festival, appropriately enough.

It’s a promising idea that starts well, and although it starts to flounder by the end, Kunis and McKinnon do sterling work making sure it never completely runs out of energy.

The Darkest Minds boasts a decent cast and a fairly interesting premise centred on likeable characters. But its banality squashes any potential it had, resulting in a safe, forgettable sci-fi.

There are few filmmakers as consistently, burningly passionate as Spike Lee. This is vital and timely work that’s up there with his best, with a gut-wrenching sting in the tail.

Shark. Weak.

Smart and stupid in equal measure, this is a palate cleanser after the doom and gloom of Justice League. The Titans could make you fall back in love with the entire DC Universe.

Everyone’s trying hard, but they can’t quite live up to the particularly gentle, warm tone of Pooh himself. Unlike the bear of very little brain, this is a film pulled in different directions with entirely too many thoughts in its head.

A kind of Ken Loach does Shirley Valentine, The Escape is not a comfortable watch. But it is a rewarding one, thanks to Dominic Savage’s forensic investigation of a disintegrating marriage and career-best work by Gemma Arterton.

Setting and performances aside, Damascus Cover is a forgettable spy thriller that bulldozes over its real-life relevance in favour of shoehorned romance and hackneyed characters. Less Mission: Impossible; more ‘Mission: Thrown Out The Window’.

For all the flying fists and the hero’s nightmarish predicament, the notions of redemption examined here are plenty deep. Add that to the bone-crunchingly effective technique and flawless lead performance, and you have yourself something very rare: a testosterone-driven narrative that’s about nurturing, rather than destruction. And one that achieves a bleeding-knuckled profundity.

This hard-edged action thriller may not match the original, but Washington’s McCall is a compelling character, the kind you’d quite happily like to hang out with whether he’s busting heads or painting walls.

The first Mamma Mia! often felt like being trapped on a non-stop rowdy middle-aged all-singing all-dancing holiday (in a good way). Ten years on this second trip feels older and wiser, for better or worse, and despite the odd misstep you’ll still be dancing in the aisles come the end credits.

Uneven in places, Pin Cushion nonetheless offers a moving meditation on what it feels like to be different, elevated by great work from Joanna Scanlan and newcomer Lily Newmark.

Schrader’s best in yonks, a powerful meditation on faith’s place in the modern world. Hawke, as a kind of Travis Bickle in a dog collar, gives one of the performances of the year.

Impeccably performed by its young leads and nurturing supporting cast, this deeply personal picture particularly impresses in the closing scenes, which are quietly devastating in their intimacy, insight and truth.

The building may be taller than The Towering Inferno and the stakes may be higher than those faced by John McClane in Die Hard, but in comparison to both, Skyscraper is little more than a cinematic bungalow.

Stylishly realised against a backdrop of violence and faded Hollywood glamour, Drew Pearce’s vision of the near-future is laced with intrigue and dark humour.

A combination of thrilling stunts, insane daring and clever writing make this a stunning piece of action cinema. Just be sure to take your heart meds first, and hold on tight.

A disappointingly straightforward, romance-driven take on a fascinating story of creation, but one that’s lifted by a superb central performance by Elle Fanning.

The forgettable title and cookie-cutter concept may seem lazy, but Coogan and Rudd work their asses off to make Erasmus and Paul the most memorable screen gay men since The Birdcage. It’s caustic, authentic, and very, very funny.

Its heart is in the right place, but some lively performances from the better-than-you’d-expect ballers-turned-actors can only paper over a thin, cliché-riddled script so much.

A sobering, haunting but completely fresh look at Whitney’s life and death that will reframe everything you think you know about the singer.

With a sharper focus on race and plenty of real-life horrors to draw from, Gerard McMurray brings a fresh perspective to this splashily satirical prequel. If only its action was as punchy as its ideas.

A low gag rate, irritating unlikeable characters and mean-spirited moments sap the joy out of a sweet true story. Looking for a freewheeling feel-good summer comedy? Tag’s not ‘it’.

Some outrageous, if hardly original, twists eventually enliven a dreary plot. But even with Margot Robbie in full scheming-vixen mode, Terminal feels interminable.

While it proves an all-round well-mounted distraction, Ant-Man And The Wasp undeniably lacks the scale and ambition of recent Marvel entries.

Hardly likely to convince anyone that remakes are worthwhile, Overboard ekes out laughs but fails to add the romance to the comedy. We’d leave this one in the water.

Lawther’s a charismatic, uncompromising lead, and Billy’s campaign is an inspiring one, but this sometimes settles for broad strokes of heroism or villainy where more subtlety would have increased its impact.

In The Fade manages to be absorbing character study, courtroom nailbiter and vengeful woman flick, all the while taking the temperature of neo-Nazism in Germany. It’s flawed but powerful, mostly down to a revelatory performance from Diane Kruger.

An effective, micro-budget sci-fi horror, that makes up in confidence and competence for what it lacks in frills.