Scabrous, watchable and deceptively provocative, Jon Stewart’s political parable may be slightly out of step with the political reality of 2020 — but Carell and Byrne do enough to earn your VOD vote.

Entertaining satire from a talented cast.

Somehow less than the sum of its very impressive parts. Massy Tadjedin brings out the best of her strong cast but all the eyeball-melting beautyon display and the highly polished treatment of the story could have done with a touch of authentic grit.

This has many more plus points than critics at the time were willing to admit.

Murray’s finest, funniest, meatiest performance since "Lost In Translation" — just a shame it’s contained in such a lightweight dramedy.

Occasionally lacking in context but never less than intriguing, Jarreth Merz's polished film is a handy document to a rarely visited democracy.

A startling performace from Findlay doesn't quite make up for a disappointing third act.

An over-eager, idea-stuffed debut that keeps you engaged with its surprising twists, but which nevertheless could have used a little pruning.

A super-sized second helping, but the novelty factor and some of the charm’s gone. Hey, at least there's more Megatron / Starscream squabbling this time round.

The story is programmatic and the indie stylings feel tired but Handsome Devil is a winning, enjoyable call for individuality. And Nicholas Galitzine and Fionn O’Shea show promise for the future.

The only film you’ll see this year with a limbless torso playing drums with animated entrails, this wickedly witty take on the seamy side of creative ambition is well worth a spin.

This documentary has value as a damning account of the film-world’s treatment of a child actor, yet as a piece of art and a personal portrait, its vagueness creates unease.

The story is a bit slight, but it’s fun to watch Ana de Armas punch, shoot, stab and blast everything and everyone in her way. A Wick-edly entertaining addition to one of cinema’s best action franchises.

A mixed bag of bones and bodies, whose Southern Gothic atmosphere and superb performances — from Holland especially — are let down by the film’s lack of narrative focus.

A dreamy but tough ensemble indie that delivers its existential angst with a straight-up Aussie drawl.

It's an impressive performance from Chastain and a fascinating subject, but the film doesn’t delve deep enough into Bakker’s inner life.

Some nice comic beats and a sinister Andy Garcia turn make this far more watchable that the fratty conceit might suggest.

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.

The plot's a trippy, twisty mess, and it's far too long, but it looks fantastic and makes some bold choices in its execution. And once again Jack's back to save the day.

Straightforward, unpretentious and well-acted, this is a solid if unsurprising genre piece.

The storyline delicately tiptoes along the line of good taste and is embroidered by a first-rate cast. Still, a knockout moment is missing.

An insanely effective no-brainer of a film, sparkling with a simple charm and energy rarely witnessed this side of illegal substances.

Club Dread still thrives on the group's enormous charm and the determined, genuinely funny comedic approach of knowing pop-culture winks and a zaniness that marks them as pleasingly Pythonesque.

Bullock delivers a towering performance that grabs the movie and the Oscar race by the scruff of the neck. You will be moved, but at the price of any nuance or complexity.

Not as revolutionary as Children Of Men, nor as wild as Attack The Block, The Kitchen is still solid British sci-fi with a social-realist flavour. An auspicious directorial debut from Tavares and Kaluuya.

More family-friendly than for-all-ages-friendly — but lively work from the thriving Sony Animation makes this energetic Lin-Manuel Miranda musical mostly worth your time.

It's a more dynamic adventure than Potter IV but lacks the majesty and richness of LOTR. Still, it's an enjoyable adaptation and good enough for us to welcome this new franchise.

An absorbing, well-acted psychological thriller that loses its grip as it slips into sensationalism.

Aiming squarely at Carries, Mirandas, Charlottes and Samanthas, How To Be Single is familiar but fun.

Never brave enough to feel far-reaching (or, ironically, far-fetched, when time-travel and space flight are so popular at the movies), Navigator still fulfills its mission, distracting the family for bang-on an hour and a half.

A very superficial look at what it may be like trying to romance someone on the autistic scale.

More a snapshot of a moment than conventional biography, and while less complex than it might want to be, still a quietly thoughtful look at one of the 20th century’s most influential characters.

The definitive wacky screwball comedy that spawned a genre.

Prettily shot and with moments of emotional power thanks to Jodie Comer’s performance, The End We Start From is involving and unpredictable, yet strangely cold when it should be searing.

The film's real strength is the way it sounds, with Ry Cooder's jangling score competing with thunderous gunplay for the shell-like's appreciative attention.

A frustrating experience. It's beautifully shot, acted and designed, but there's little cohesion in the story. Maybe one day we'll see a better cut, but for now this is a sadly fumbled opportunity.

A little bit of going through the motions with this horror spoof but fans will enjoy.

For its first half, Thirteen Lives feels like it is treading water, waiting for its big final act. Thankfully, the second half is a riveting depiction of a daring, foolhardy, inspired rescue.

Intentionally or not, it might be the comedy of the year. The music and dance are thrilling and the costumes saucy enough to satisfy, but the whole is so camp and clichéd that it must be deliberate. Right?

Unflinching in its depiction of rural reality, this may be a dour drama, but it has been made with sincerity and an exceptional sense of place.

Not for anyone with a sensitive gag reflex. Joshua Marston provides a harrowing depiction of drug- muling for dummies. The raw, revolting, dangerous details of such an undertaking are graphic.

Fun, but it mugs too hard.

This stripped-down chiller has some decent jump-frights, but a dearth of memorable moments.

If you're looking for sophisticated wit keep going, but Major League is pleasant, undemanding fun and the most likely of the baseball movies to hit over here. You don't need to know what they're doing on the field, there are some amusing supporting performances, and everybody likes to see losers make a dream come true.

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.

Hollywood over-indulgence at its best.

This nightmarish travelogue is coy about gore, but it’s still an effective thrill-ride. If the sequel happens, let’s hope it delivers some actual combat.

It’s a film to see for the performances, which are faultless, but while it’s sometimes riveting this play has been awkwardly translated to screen.

Family dysfunction to make Jeremy Kyle blush, but thanks to McConaughey's oily power and Friedkin's unflinching purpose it's a compelling beast.

The Break-Up doesn't turn the rom-com on its head, but with its focus on the darker side of love manages to gently tip it on its side.

The action meanders occasionally, but the performances are consistently disarming and Luciano Zito and Diego del Piano’s black-and-white photography complements the mood of ironic melancholy.

One of those rare things...a sequel that's funnier and more successful.

Your opinion of this unasked-for but likable comedy sequel depends entirely on whether your reaction to the statement “It’s better than the first one” is 1) “Dear God, it could hardly be worse” or 2) “Awesome!”

It's well performed, and Collet-Serra knows his way around a beautifully timed scare, but what's most haunting is the sense that the same idea has been done better before.

Lots of interesting concepts competing for limited running time make for more of a TV pilot than a feature film.

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

Another bravura performance from Juliette Binoche glosses over the flaws in a soft-focused glimpse at the seamier side of student life.

A solidly okay Saturday night effort, but unambitious considering the talent involved. Maybe Rodriguez should direct Predator Resurrection, but get a science fiction writer to script it.

An affectionate and entertaining tribute to the Western - but, Estevez aside, Young Guns II doesn't exactly add much to the old genre.

There's a hint of comforting, chocolate-box, Sunday-night TV here, but it's delivered via such quietly powerful performances and with such hope that it's hard to resist.

Charming, handsome and full of pep – all 70 year-old Cap lacks is a knockout blow. Still, Johnston should be saluted for old-fashioned heart in a cynical age, while Marvel should be confined to barracks for cynical marketing.

More predictable than shaggy, Dog is more interesting than the standard man-mutt buddy movie but still never really pulls the heartstrings. What it lacks in urgency and emotion, Tatum more than makes up for in movie-star wattage.

Well made, but not entirely successful ensemble thriller.

Pixar’s first out-and-out love story, Elemental is overstuffed and inconsistent — but packed with enough moving sentiment, gorgeous design and punchy voice performances to mean it still burns bright.

A daft movie, but one not without its moments of healthy radiance, spurred on by some bristling gags and a welcome comic return by Emma Thompson as a gauche fellow doctor caught in a romantic sub-plot.

Like Paranormal Activity at a wedding - Paranuptial Activity? - this low-budget horror has its moment. Much, much better than Legion, although not as scary as the actual Book of Revelation.

The archive footage is compelling, but the soundtrack is a muddle of voice-over, music and effects.

It's not sure where to go once the final Iron Man suit is constructed, and seems in a rush to get there, but Downey Jr and the supporting cast are so perfectly placed we're already looking forward to the bound-to-be-better sequel.

It's no first-rank CGI cartoon, but shows how Pixar's quality over crass is inspiring the mid-list. Fun, with teary bits, for kids; fresh and smart for adults.

Proves that nouveau horror is alive and kicking hard.

New Orleans looks as photogenic as ever but ultimately Johnny Handsome never quite leapfrogs over its fundamental cracks.

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.

Compelling performances and some stand-out scenes but this lacks the cohesive language of "Elephant," for example.

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.

Funnier than it has any right to be, thanks to Reynolds’ charisma and Faris’ bubbleheaded blonde.

An old-fashioned disaster B-movie with a slickly presented sci-fi premise, 65 holds few surprises — but like Adam Driver’s resourceful, humane hero, it gets the job done. More dinosaurs, please, Hollywood!

As passionate and wide-ranging as you'd hope, but disappointingly mistrusting of its audience's interest in the finer points of the case.

Unapologetically preposterous, but it is a (very sweet) fairy tale and Highmore is captivating.

Not a masterpiece, by any stretch of the imagination, but it's pleasing to see a sequel strive so hard to reach the same heights. That it fails is through no fault of its own - the original simply raised the bar too high.

Huston, showing admirable range in his old age, creates enough on-field magic and nostalgia for the beatiful game as an idyll of now-extinct sportsmanship, you can almost forgive the boss's choice of goalkeeper. Almost.

Hard to root for but mesmerising to watch, Sloane is expertly portrayed by Chastain in this dialogue-heavy lobbyist thriller that should please fans of both actor and genre.

Measured performances from the seasoned cast balance out a script that errs towards the melodramatic. Hours sweating over those instruments pay dividends too.

A serious, well-intentioned slice of WWII naval history full of compelling detail and good action but lacking the dimensions and dynamics to make you truly feel it.

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

Though there are a few rather large nits to be picked from the sloppy plot - the action takes at least one unfathomable turn and, as a terrorist, Payne seems to have entirely forgotten to have a cause - if you enter into the spirit, this is thunderously good fun.

It’s an intriguing look into a secret world and a great performance from Chastain, but Sorkin’s directorial debut never quite makes the leap from great poker movie to great movie.

A handsome and well-acted rumination on memory, boyhood and ageing that sees Ritesh Batra deliver a solid rather than inspired interpretation of Julian Barnes’ prize winner.

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

The plot is insubstantial in the extreme, but Rae and Nanjiani are so cool, and their loose, free-flowing improv so winning, that you probably won’t care.

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.

One of Hitchcock's earlier efforts that was hacked around a bit to take out some of the more ambiguous psychological elements by the editor but still retains the old Hitch charm.

Spirited, amiable, featherweight summer fun.

Highly amusing and well paced, an engaging fairy-tale with a slightly sinister underbelly.

A lightweight, tinselly film with some nice touches and appealing performances, though it never lands its darker moments.

Played with committed ferocity by the excellent Oh and Heche, this riotous state-of-the-nation satire may lack subtlety, but it has the courage of its socko convictions and certainly packs a punch.

These Mark 6 Jaegers with their electric whips, “gravity slings” and plasma swords deliver all the giant robot thrills you could wish. Thanks to Boyega and Spaeny, you might even care about the human characters, too.

Hardly promising but, thanks to James' winningly gung-ho underdog and the fat-man grace he brings to a pratfall, unexpectedly watchable.

It sometimes over-plays its hand but, anchored by a terrific Jacob Tremblay, Wonder is a warm persuasive argument for tolerance. And it’s always great to have Julia Roberts back on the big screen.