The best zombie-ish apocalypse in years. Sennia Nanua is a major discovery, but it’s the dense social commentary and moral dilemmas that will haunt you.

A gripping if occasionally overwrought drama radiated by a standout turn from Seydoux.

An efficient and no-nonsense depiction of the worst disaster in US oil drilling history, buoyed by excellent performances.

Slick but forgettable, Fuqua’s suicide squad is a macho posse movie that could use a jab of fun. It’s The Magnificent Seven, but the “magnificent” is silent.

A bit "Up," a bit "Moonrise Kingdom," a bit "Midnight Run," even… Taika Waititi’s latest is an oddball treat of a mismatched-buddy pursuit move.

Effectively scary and occasionally inventive, Blair Witch is a solid genre film both helped and hindered by its franchise’s place in cinematic history.

Often gripping, and elevated by Cranston’s superb central performance. But it’s hard not to feel like we’ve seen this before, often and done better.

Though the story occasionally stretches credibility, the warmth and wit so reminiscent of the original Bridget Jones's Diary propels you along, being due in large part to the return of one woman: director Sharon Maguire. You feel her filthy, funny thumbprints pressed on almost every scene.

It sounded like the dumbest movie of all time, but it’s actually smart, subversive and packed with famous voices saying wonderfully unspeakable things. In fact, it’s a banger.

Part fever-dream, part supernatural thriller and not entirely successful as either, Louis Drax is nonetheless watchable, bolstered by provocative themes.

It’s well designed and shot, but in service of a story that never coalesces into something intelligent or compelling.

Taut, tense and teasing, this fascinating exercise in screen storytelling keeps viewers guessing whether the prime suspect might just be a victim.

A compelling and moving interpretation of a largely forgotten moment in European history.

Taut, tense and burnished by Jeff Bridges at his best. This is a deceptively simple tale of Texan cops and robbers that drags the Old West into the modern age.

A bloody-knuckled fightfest, back-dropped by the beautiful Welsh countryside, this defies its budget to bring a little epic to Viking Britain.

Buoyed by riveting lead performances, and driven by a compelling real-life story, this is proof that Phillips can handle grown-up material. All without a naked Ken Jeong.

An absolute blast, with a frenetic strike-rate and songs that will worm their way into your ears for days. Like Conner, this comedy’s for real.

A fiercely original, pleasantly unpredictable character piece. This is a gang of outsiders with something valuable to say about the world we live in.

Election Year maintains the nervy tension that made the first films entertaining, but doubles down on the political metaphors, overwhelming you with its soap-box rhetoric.

A slick, stylish melodrama with an involving story and a cracking cast. Star Adriana Ugarte is a real find.

An intense, streamlined exercise in gruesome thrills, with a tiny glimmer of social context (it’s all about the economy) which doesn’t take away from the exciting struggle to get out of this house of horrors.

It’s an adequate retelling, mostly, but with moments of eye-rolling ineptitude.

Narratives of the Northern Irish Troubles are a nightmare of bias and bullshit – this superior doc does better than most in cutting through both, and offers a lot to experts and noobs alike.

An otherwise mundane rom-com that doesn’t know how to handle its one point-of-difference; and even that isn’t as much of a big deal as its writers think it is.

It’s an energetic survival thriller and terrific showcase for Lively’s chops, but iffy plotting and a sloppy climax detract from the terror.

Ricky Gervais very much plays the hits in an undercooked but occasionally funny big screen revival that suffers from a crippling case of de ja vu. Brent’s last goodbye? You’d hope so.

A lean, mean scare-machine, and a surprise contender for horror of the year. Seek it out. Then, for God’s sake, buy a bedside lamp.

The ending doesn’t quite land, but this timely right-wing allegory promises there’s much more to come from Corbet.

It still feels old-fashioned rather than timeless and even on its family entertainment terms, it just doesn’t quicken the pulse-rate.

It’s a beautifully animated tale (keep your eyes on the way Kubo’s hair moves) that balances story with comedy and moments of effective (if light) horror.

Ostensibly, a lovingly made study of homemade cooking and old-fashioned values, this beautifully played drama also contains a mordant denunciation of the lack of compassion that shapes Japanese attitudes to social stigma.

A strong cast can’t rescue the repetitively crude and recklessly derivative material. Mike and Dave need a lot more help than in merely finding wedding dates.

An intimate, if unanalytical, portrait of one of movies greatest talents, told in her own words and through an adroitly assembled use of fantastic home movie footage. It’s also probably your only chance to see a Hollywood icon win a sack race.

Like Avengers Assemble forced through a Deadpool mangle, Suicide Squad gives new life to DC’s big-screen universe. So bad-to-the-bone it’s good.

This is a gentler, less confrontational Solondz. It makes you laugh, but probably won’t leave you reeling after. Some fans of his might consider that a disappointment, others might find it a relief.

Strong performances and direction make the most of a lightweight tale.

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

Unflinching in its eschewal of objectivity, this provides a unique perspective on a notorious case, while correcting some of the impressions about urban black youth the media cravenly peddled in its aftermath.

Yes, Jason Bourne basically amounts to a trio of action set-pieces elegantly strung together. But who really cares when they’re this impressive?

All cast and crew do an impressive job in making this unlikely proposition such an engaging, thought-provoking and darkly funny watch.

A gruelling watch and a searing indictment of America's disregard for its indigenous peoples.

Even by the standards of animation, the logic fails here are impressive. But the bigger problem is the lack of charm, focus and original storytelling as the animals suddenly have to save the world instead of just surviving it.

Considering it’s the debut of one of TV’s hottest double-acts, Keanu is a slight disappointment. But there’s plenty of funny stuff, and George Michael fans in particular should have faith, faith, faith.

Hilarious in places, hideous in others, this struggles to make its philosophical case. But the performances are exceptional and the conceit could not be more daring or distinctive.

Precious Cargo is a film out of time. In the ’90s it would have been a serviceable DTV alternative when the Van Damme/Jeff Wincott flick was out at Blockbuster. These days it is a lacklustre anachronism. Bruce Willis should really know better.

A return to fun, and a return to form for the new version of the old Trek. The 13th Trek movie is also the second good odd-numbered instalment in a row. Lucky for some.

Giant expectations may lead to tiny disappointments in this two-hander that’s slow in parts. But it still offers magic and visual delights, and the final act is a treat.

The film works for the most part, and even though the laughs notably dry up as the CGI spectacular kicks into gear, its feelgood vibes will most likely have already won you over.

Funny and nasty in the best traditions of Headhunters and Jackpot, this is the Stellan Skarsgård vengeance thriller we've all been waiting for.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

It's scatty, scrappy and thoroughly OTT, but then that's like the characters themselves.

Not so much a ripping yarn, more of a dripping yarn, Yates’ reinterpretation of the Lord Of The Jungle is a big disappointment.

It’s an impressively starry cast, but sadly, this lacks the charm, wit and, yes, magic of the original. You’ll like it, not a lot.

Witty and moving, this is a low-budget Brit triumph that marks its director as a talent to watch.

As spectacular as you’d hope from a sequel to the 1996 planet-toaster, and as amusingly cheesy. You’ll enjoy yourself enough that you won’t even miss Will Smith.

Grotesque rather than scary and severely underplotted – but certainly strong meat.

You have to be in the right mood for it, but this is one of the season’s finest films.

Pixar sequel-phobes be damned — this is a dazzling and technically impressive return to form that delivers a similar high to Finding Nemo without feeling like a retread.

An action comedy without any action or comedy – not even The Rock’s charisma and enthusiasm can save this dud.

A perfectly cast comedy of manners that couches complex emotional questions in joyous farce and continues Gerwig’s reign as the undisputed Queen Of Quirk.

The Neon Demon pulls off the unique feat of being both boring and bravura all at once. Like the world it depicts, it’s a feast for the eyes but little else.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

An affable adventure with a strong voice cast. What it lacks in originality, it claws back with strong visual gags and a witty script.

There’s not a lot of consequence to this bizarre meeting, or really the film, but as a character study of two men alone at the top, it’s both very funny and quietly astute.

It’s tastefully shot and Crowe commits to the horrors of Jake’s illness (his seizures are upsetting) but the writing lacks depth, the character psychology is dime-store Freud and the performances are variable.

A lesser entry in the LeCarré Cinematic Universe, though Damian Lewis and Stellan Skarsgård rescue it from complete blandness.

Odd-couple chemistry and a dark underbelly keep this Danish noir adaptation compelling.

Uncompromisingly authentic, impeccably played and quietly compelling.

Though inspired by real-life journals, Guerra’s haunting and beautifully shot film transports us into the realm of the mystical and surreal.

Fitfully funny but failing to really build to much of anything, The Boss is mostly a bust. Even its main character would have a hard time buying it.

Michael Moore proves that in six years between films he’s lost none of his power as a popular polemicist, and while the overall structure of his argument here is flimsy, the details he reveals have impact, suggesting a fair and just society is not an unattainable Utopia.

Cage and Wood make a hugely enjoyable double act (has True Detective season three been cast yet?) in this deceptively dark thriller with comic undertones, arguably sunk by a seismic tonal shift that not only wipes the smile off your face, but leaves a bad taste in the mouth. Tune into its offbeat frequency, however, and there is much to enjoy.

The funniest, most deliciously venomous Jane Austen movie ever made, and conclusive proof that, a) Kate Beckinsale has been seriously undervalued by the movies and, b) Whit Stillman is a major, distinctive talent.

Quick on its wits and fast with its fists, this is Black firmly back doing what he does best. And nobody out there does it better.

Considerably better than its predecessor, the central four may give it their all but the people behind this franchise sadly don’t seem all that interested in their crime-fighting, pizza-eating heroes.

The ambition is laudible, but it's to little end. At once empty and impenetrable, this brings to mind a mix of John Carter and Dungeons And Dragons, regrettably in both themes and level of enjoyment.

An adaptation of the Dave Eggers novel that struggles to make itself stand out, content instead to coast by on gentle comedy and Hanks’ charm. Pleasant but ultimately forgettable.

A fast-paced, entertaining, if somewhat on-the-nose mélange of thriller, satire, and drama, this is Jodie Foster’s best movie as a director. And we’d happily watch any TV show George Clooney wants to host.

Wasikowska gives it her all, and Cohen shines, but while this is a better film than the first, that was a low bar to reach.

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.

Messier and heavier than Days Of Future Past, this is not so much the next step in the X-Men’s evolution as a failed callback to past glories.

Terrence Malick’s Hollywood tale is a frustratingly fleeting experience, a sleepwalk through Tinseltown that beguiles you with its visual artistry but leaves only the faintest of impressions when the curtain falls.

It rarely makes sense – the script vastly overestimates the power of the hashtag as a weapon of mass destruction – but you’re never bored.

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

A preposterous premise that never makes sense. A tedious thriller that offers no thrills. An A-list cast reduced to C-list material. Piers Morgan. We can but pray that scientists invent a procedure to remove the memory of ever watching this film in the first place.

A fizzy, funny, period dramedy with top-notch performances, Florence Foster Jenkins doesn't take many risks but it's a very entertaining experience. And yes, she was that bad.

Vallée’s post-traumatic stress comedy is more scientific than genuinely moving. Nevertheless, Gyllenhaal continues his post-Nightcrawler upgrade with another vivid performance in the key of strange.

Hiddleston and Olsen impress, and the music remains golden, but this is just another by-the-numbers biopic.

A perfectly pitched blast of nostalgia, which will transport you to that time in life when the future stretched before you and anything seemed possible.

A riotous, rough-hewn and rousing punk reinvention of ’70s-style grindhouse exploitation-with-a-brain-cinema.

Nothing is taken seriously, and there’s a nice mix of old groaner jokes delivered with a visible wince and genuine, sneakily erudite wit.

Matching its blockbuster scale and spectacle with the smarts of a great, grown-up thriller, Captain America: Civil War is Marvel Studios’ finest film yet.

The late, great Robin Williams brings great nuance to the anguished Nolan’s inner struggle in a slight but sensitive story about a man facing a life-changing choice. It’s a worthy legacy for a beloved, talented and much-missed actor.

Given the wealth of footage available, you can’t really go wrong with docs on the Apollo era – and yet amongst all that, Cernan is compellingly frank about the human costs of spaceflight.

A largely inventive and energetic portrayal of a past-their-prime music legend that’s let down by its unnecessary trad biopic beats.

Wonderful to look at, this is a more adult, more complex affair than its animated, and more entertaining, forebear. Still, it’s Disney’s best live-action adaptation yet.

So much more than a one-take gimmick movie, Victoria is a stunning cinematic achievement. Full of twists that feel authentic and believable characters, it grips from the first compelling frame to the last.

It's a tight thriller played out smoothly but tying the viewer in moral knots. A film to think about for days, with little hope of finding a comfortable answer.