Impressively nightmarish.

Easily, almost nonchalantly, best in franchise, Rogue Nation dispenses with the dead weight of realism or relevance for state-of-the-art thrill-making in a classical mould. The series has finally found its voice.

It feels a little like ‘a very special episode of The Walking Dead’ and might be a tad low-key for its field, but Schwarzenegger and Breslin are good and the payoff is affecting.

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

Don’t get too caught up in the all-too-familiar plot, just savour Jake Gyllenhaal’s powerhouse performance in a riches-to-rags-to-redemption sports movie that punches well above its weight.

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.

The science is haphazard, the techniques gimmicky, but the point is cogently made.

The former comedy co-stars (Knocked Up) are superbly cast in this fascinating, fact-based story.

Superb star turn from Maria Alexandra Lungi but this doesn’t grip as it might.

Some of his Salgado's depictions of human suffering are not for the faint-hearted but, like this fine film, demand to be seen. Unmissable.

As bleak, unflinching and utterly unmissable as its predecessor.

Inside Out is audacious as it is silly, as funny as it is imaginative.

A science-fiction, action-heist, superhero comedy soap opera, this straddles as many genres as the Avengers films have characters but manages to do most of them pretty well. Extremely likable, with a few moments of proper wonder.

Despite a second act lull, Connolly convinces in this cute and charming comedy.

Lea van Acken is outstanding but Dietrich Brüggemann’s severe gaze invites voyeurism, not empathy. A stony, stifling if fascinating film.

Less fun than last time and oddly unpleasant in its tone. MacFarlane takes potshots at everyone he can find, while shielding the two characters that deserve it most.

Like it or not, Six has contributed something fresh and demented to pop culture.

Visually, this is an exquisitely composed film, and it teems with curiosities and compassion. If on occasion the story seems to wander, it arrives at an enchanting destination.

Do the right thing — take a break from summer spectacle to check out this assured and eloquent indie.

This is the film Brian Wilson’s talent deserves: original, smart and affecting.

While beautiful, early scenes of shocking violence give way to philosophising and gauche symbolism.

If director Chuck Workman maps a familiar rise and fall of rule-breaking brilliance it is vindicated by the great raconteur and in-depth praise from an impressive roster.

A vibrant, haunting documentary, and a poignant tribute to a free spirit.

Director Alan Taylor handles the big action adeptly as he did in Thor The Dark World, but the script is an ever-decreasing cycle of tool-ups, chase sequences and daft monologues.

With Soderbergh now only on cinematography duties, this one takes all of the original’s surface — chiefly the hip gyrations — and none of the substance, interesting character arcs or charms.

The filmmaking is exemplary but most impressive of all is the tone that mixes comedy, melodrama and darkness.

Farty, burpy, fall-y over fun tied to a pretty inconsequential plot. Your kids will explode with joy.

Excruciatingly hilarious and hilariously excruciating. The merkin scene will live with you forever.

Messy and unlikeable.

Peter Bogdanovich's attempt to update the screwball of the Golden Age lacks the requisite elegance, wit and charm.

An entertaining and compelling story about music’s unsung heroes.

Roth and Reeves locks us in for an increasingly terrifying thrillride.

Maclean has made a Western of such confident ease that it’s hard to believe this is the director’s first feature film.

The bastard offspring of a charmless romcom and a toothless political satire.

However contrived this tenth Sparks-to-screen becomes, the emotions and chemistry outweigh the bull.

Neither a Medellin-style disaster nor an Aquaman-sized hit, this pays decent fan service but an Ari-centric spinoff might have been the smarter move.

Jurassic World is fresh and thrilling, and while it often tips its hat to the original, it’s not a slavish copy, introducing more than enough new wrinkles into the prehistoric playbook to launch a new wave of sequels.

Triebel is an outstanding presence in this slow-burning thriller, which continues to smoulder long after the credits roll.

Once again combining a sense of genuine dread with a mischievous vein of humour, Insidious Chapter 3 successfully closes the trilogy with its beginning.

Less vibrant than the original, but equally thoughtful and funny.

Ultimately, this has the feel of a lazy literary adaptation of a half-remembered novel.

The supporting cast is a kick. Law gets to send up the Bond role, something he could very well have played in his younger days; Allison Janney fills her boots as the angry head of the agency and Statham, frankly, should only ever play this role for the rest of his life.

Exceptional, human filmmaking.

For all the charisma of its hero and villain, it falls down on its failure to resist cliché.

Neatly balances a folkloric coming-of-age tale with violent action thrills.

A Hugely, irresistibly enjoyable, with star chemistry to spare, genuine laughs and tears, and the bonus of apt Lennon songs on the soundtrack.

If it could decide whether it was a cute romcom or a dirty one, Man Up would be a real gem, but as charming as it is, it falls between two stools and never manages to, ahem, Man Up.

If you crave Emmerich-esque disaster-porn with a mega body count, there’s plenty here to OMG at. But when it comes to character depth or plotting, San Andreas is a sadly familiar wasteland.

A wholly captivating date movie for eternal romantics who also enjoy slime-and-tentacle transformations.

By turns funny, vaguely creepy and too cool for school, A Girl Walks Home Alone At Night is certainly unusual — but also seductive and strange enough to stick in the memory like a fever dream.

A disappointingly tame and unimaginative effort, which throws away much of what was best-loved about the original and fails to find worthy replacements.

Bird and Lindelof have thrown everything they have at this film and, aside from a pause for breath at the end, they’ve made something funny, surprising and packed full of wonder.

A highly enjoyable glance at Gotham's veteran haute couturists.

At two hours, things get flabby around the rock-opera era, but the film fizzes and clatters with anecdotes.

It gives artistic types an easy ride but it’s a feast of rich writing and great acting. And if you’ve only ever seen Kristen Stewart in Twilight movies, she is in a different class here.

Great on his early life, but doesn’t really illuminate his genius as a filmmaker.

The golden-larynxed franchise graduates with a merit.

Max’s re-enfranchisement is a triumph of barking-mad imagination, jaw-dropping action, crackpot humour, and acting in the face of a hurricane.

A gripping study of treachery, identity and survival.

Destined to be a big drinking game — take a sip when Broadbent bites his sandwich — but little else, this feels like a major missed opportunity.

Overall this is a gripping, non-judgmental look at a young girl finding herself in the toughest circumstances.

Gripping, humane and lighter than it sounds, Stewart’s first foray into directing suggests that he was right to quit the day job. We can’t wait to see what he does next.

A merrily ferocious pop at the Hollywood bubble that balances sharp, acid laughs with a sweet, believable meet-cute. Top of the pack and Chris Rock’s best movie.

An affectionate portrait of a big-hearted man and a fitting testament to the enduring appeal of Sesame Street.

Clever cybernatural thriller.

Extremely well done and well acted, it’s an attractive, appealing, involving adaptation, just not as iconic as the ’60s film.

In avoiding narration, interviews, music or any traditional method to draw the audience in, the film has a cold, unengaging feel, leaving it mostly for art buffs who like seeing taxidermied bears having their hair fastidiously cleaned with a tiny toothbrush.

Bigger and, yes, darker than the first, this is less air-punchingly gleeful but probably more consistent. Thanks to Whedon and the most charismatic, compelling cast you’ll find anywhere, Age of Ultron redefines the scale we can expect from our superhero epics but still fits human-sized emotion amid the bombast.

A spirited gothic tale, played with welcome black humour.

If Chris Morris had grown up in Sweden watching Jacques Tati and Ingmar Bergman films, he might be making films like this. Based on Andersson’s mordantly funny observations about the human condition, the pigeon has it pretty good.

An unconventional sequel to an unconventional film, this works as a standalone picture with its own distinctive take on alien invasion but also expands what now seem like a franchise with potential to deliver more and varied snapshots of human behaviour in extreme circumstances.

Recalling Harvey Keitel’s tortured cop in Ferrara’s Bad Lieutenant, Devereaux is an unreconstructed, unrepentant monster with no hope of, or interest in, redemption. It’s a fearless, heroic performance in a provocative, important film. [Unrated Version]

This overwrought thriller is a pedestrian period piece that squanders its potential.

A musical with almost 100% sung verse is not for everyone but Kendrick is as bewitching as ever.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

Smart, fun, mid-list horror with Scream overtones

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

Slightly overlong and glosses over certain aspects but a profound examination of a tortured artist.

Challengingly spellbinding.

Despite some choice improvisations, we're given no running gag as endearing as the first film.

A brittle black comedy that has plenty to say about modern manhood and the human survival instinct.

It’s "Top Gun" with gamer’s thumb. Ethan Hawke shines in a complex, satisfying character study turned combat thriller.

Even with a starry cast, the stirring true story is this drama’s standout feature.

A giddy helping of artful violence delivered with a wink and a cheeky grin. Unsurprisingly, John Wick 2 is already in the works.

Less of a riot than Wright’s previous Grabbers, Robot Overlords displays the same knowing intelligence, sense of fun and deep-rooted love for post-’70s genre film. Unlike its titular villains, it’s sleek and it never malfunctions.

More compelling when focusing on long-serving staff and their skills and opinions

It’s an odd mix of "Saving Private Ryan" odyssey and romantic melodrama. It has sincerity, sensitivity and is often ravishing to look at but is let down by a chocolate box love story. Still, Crowe still might have a "Braveheart"/"Dances With Wolves" in him yet.

Noah Bamubach’s While We’re Young is the best Woody Allen film of 2015. A fast, funny, smart take on generational jealousy, with Ben Stiller and Adam Driver on great form.

A group more bulletproof than The Avengers, causing more mayhem than General Zod. Think Universal doesn’t have a superhero franchise? Think again.

This reflection on isolation, technology, creativity and desire brilliantly blurs the lines between perception and voyeurism, the objective and the subjective.

Belying its title, this is a pretty flaccid offering which fails to gel the comedy stylings of Hart and Ferrell.

On one level a fascinating refraction of the Amanda Knox trial into an examination of perception, on another an increasingly trying hall of mirrors.

Over-familiar and the first half's pace is sea-sluggish but with inspired touches.

This swords-and-sorcery throwback has little imagination on display, instead doubling down on computer-generated flair to pass the time.

William Eubank continues to work his particular mind-stretching mix of acute character interplay and cosmic conceptual breakthrough.

A retrograde fantasy with the depth of a dressing-up box, but it’s spirited, genuinely funny and played to the hilt by an excellent cast.

A sensitive, sincere and humbling profile which is truly inspirational.

A decent cast gives it more credibility than it deserves.