With its edgy style intact, The Immortal Man never takes its eye off the Peaky faithful. But keeping the fans happy is a double-edged sword, as it can’t help but just feel like an extra-long episode rather than a standalone cinematic experience.

A brave effort from Richardson with another outstanding performance from Foster.

A sentimental but solid dependable retelling of an oft-told tale, it doesn’t do anything radical with the material but gets by on well mounted set-pieces and Ford’s grizzled gravitas.

Enjoyable enough nonsense, even if it barely cracks a smile.

Clint doing roughneck humour with an orang-utan, what's not to like?

While still a lurid sequel to a ropey slasher movie, Orphan: First Kill is refreshingly clever, unpredictable and gruesome. Isabelle Fuhrman’s Esther deserves three more sequels and a ‘Versus’ movie with the Stepfather or Chucky.

Inmate #1 might lack depths and dimensions, but for fans, this documentary is a machete-sharp glimpse into the life of a cult icon.

It may not be up there with his very best, but Aki Kaurismäki offers a reminder that he's a still one of the freshest voices in cinema.

Exactly what you’d expect from a crime-caper action-comedy pairing Dwayne Johnson and Ryan Reynolds. Nothing more, nothing less.

A sad story, but well told, with respect for its subject and an eye for the Shakespearian tragedy in the tale.

It’s essentially, y’know, for kids, but the dedicated fairy tale fan will have tons of fun spotting all the references. Adams, meanwhile, gives one of the comedy performances of the year.

A strange, mostly enjoyable mix of big political questions and crude comedy, Zohan overcomes its skeletal plotting and uneven gag ratio through Sandler?s sheer commitment to nonsense.

A very silly, sporadically serious hood spoof, with some surprisingly frank discussions of mental health — and a welcome redemptive arc for the multi-talented Adam Deacon.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

If there's a criticism to be made, it's that the script doesn't push itself far enough with the moments in which it excels.

Don't expect anything too profound from this middleweight fare - but it'll still be better than the inevitable remake.

Although let down by muddled plotting, The Night House is a low-key, well-made thoughtful horror flick, excellently played by Rebecca Hall.

Sharp animation and powerful visualisation of scale will enthrall a young audience but the clumsy cub-scout moralising feels, well, extinct.

Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.

A beautiful, subdued Daisy Ridley performance anchors a story that is underplayed to the point of almost non-existence. Still, if you’re tired of blockbuster bombast, this could be the antidote.

The sugar level is positively diabetic, but the whole aura of warmth and cuddliness is hard to resist.

Shows the famed songwriter's performance and work off with reverance, and a faithfullness to the live experience.

Ironically, it lacks journalistic rigour but it's a fond, nostalgic look at the gilded history of the Grey Lady.

This is one of those movies that's "interesting" rather than ˜"good". Smith has so much solid material to deliver that it's a shame the package is so sloppily wrapped.

There’s quite a bit to admire in Motherless Brooklyn, but mostly in detail work — the hats, the cars, the join-the-dots conspiracy theory — but it doesn’t really catch fire as either a private-eye mystery or a study in Tourette syndrome savantry.

It’s far from a complete biography, but it makes at least some effort to engage with the messier aspects of Lee’s life. Ultimately, however, this is a celebration of Lee and the cheerleading he did for comics, and that is surprisingly moving.

A cheerful comedy-drama with charm to spare.

Like a late ’60s satire played embarrassingly seriously.

Sterling performances lift the occasionally soapy storyline in this semi-successful adaptation.

Still creepy, ooky, mysterious and spooky, but trying to follow the storylines is like sorting spaghetti.

There’s no doubting the energy, but without Colin Farrell’s fervour, or any novel spin, it’s no more than treading water from this gang.

Originating the genre of 'dedicated teacher reaches troubled kids in a ghetto school', this is still affecting although heavy-handed.

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.

Not as affecting as Ozu's classic Tokyo Story, Late Spring still charms with it's similar theme of development of the parental bond as the children mature and become more independent. Although well acted, the visual are equally arresting but when the themes are so similar a new approach is required to keep it interesting.

Fanning brings her A-game and there’s enough mystery about the monsters in the woods to string audiences along until the satisfyingly weird finish. As mid-list horror goes, perfectly fine.

A supernatural, effects-laden yarn like this is right in Robert Zemeckis' wheelhouse. Which makes it a little disheartening that it’s merely good, rather than great. Dahl's story still sings, but like a potion missing eye of newt, this new take is slightly undercooked.

An enjoyable World War II spy flick, Munich: The Edge Of War scores with strong performances and filmmaking craft, but is let down by a lack of dramatic heft. A Father’s Day watch in waiting.

Fans of the Say Anything/ Running On Empty school of drama could do a lot worse that give this one a go.

It doesn’t all land, but The Night Before is largely a salty, sweet jingle ball.

Army Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. When he aims for more emotional territory — like the rather trite guilt-to-redemption arc between Scott and his estranged daughter, played capably by Ella Purnell — we start to feel the weight of that running time.

With Neeson on fine form and an encouraging start, it’s a shame that this gritty crime drama feels the need to erupt into a full-blown action movie by the end.

Sartorially dated certainly, but still powerful, disturbing and raw.

A Western that hits many of the expected beats but which does so in an unexpected manner, being centred on a tender, loving relationship rather than gunplay and grit.

Hardly groundbreaking but this high-school actioner ghosts by on its charm and sense of fun.

The two leads are on fine form, but the surrounding structure is too familiar from a thousand other films. Still, tense and occasionally twisty stuff.

Road movies should be pleasurable and free-spirited, but Candy Mountain drags too much weight around.

Like Maximus, the hero who inspires the theme of its pivotal party, Greed will keep you entertained. But patchiness and occasional preachiness mar a clearly heartfelt message movie.

More The Wild Geese than The Wild Bunch, The Expendables is not a wasted opportunity, but more one not fully exploited.

Compelling performances and beautifully told heroics but the pacing is flawed in terms of a thrilling cinematic experience.

Director Steve Miner, on board because Carpenter passed, made two of the early Friday The 13th sequels and manages the business of the sudden knee-jerk shocks with ease, realising (as the previous sequels didn't) that Halloween movies are supposed to be scary not violent.

Buoyed by its leads’ fizzing chemistry and infectious spirit, Billy Porter’s directorial debut may be flawed, but its feel-good vibes and charm make it prime for comfort viewing.

Merrily gruesome black comedy.

Uncomfortable viewing which isn't afraid to engage with race-related violence.

An unconventional and imperfect first work of a career that would have been fascinating to watch unfold, Jóhannsson’s images are just as strong as his typically excellent, haunting musical composition.

Although there are fine homages to Chaplin, Buster Keaton, Eisenstein and Harold Lloyd here, this is a scattershot offering full of apolitical mockery.

An auspicious debut for Scott, but one whose ingredients are too familiar to really fizz. Green is great, though, in a dark-tinged role that plays to her strengths.

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.

It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.

This fantasy comedy should entertain its pre-teen female market – and repel those silly superficial boys (swoon).

Plenty of mileage is derived from Dujardin's dismissal of everything Arab, Michel Hazanavicius also throws in some supremely silly running gags, while keeping the plot moving at a clip and establishing a rapport between the hapless hero and his insouciantly accomplished assistant, Bérénice Bejo.

Director Johnny To's previous flicks are slicker affairs, but there's still plenty here to please the fans.

An intriguing rites-of-passage story with a delirious, skewed perspective and an almost palpable sexual pulse.

A gaudy, flamboyant expose that asks a lot of its stars, and gets more than it deserves.

Solid, but understated to a fault. Causeway’s biggest appeal is seeing Jennifer Lawrence and Brian Tyree Henry act up a quiet, powerful storm.

Simmering study of a petty hood-cum-wannabe pianist succumbing to his innate violent side - but there might be a touch too much ivory tinkling for some.

Though things go off the rails in the third act, Arcadian’s intriguing premise and inspired monster design pack plenty of scares into this post-apocalyptic fable.

We get a mother-daughter murder melodrama even more farfetched than the Joan Crawford classic, Mildred Pierce, on which this would appear to be loosely based.

Although its politics may be shaky, this comedy still works thank to the charm of Kline and an excellent supporting cast. But it's more likely to provide warm, fuzzy smiles than belly laughs.

Edwards and Andrews insisted on using the picture to drive another nail into her detested Mary Poppins image.

Destined to be forgotten the minute it’s finished, Time Cut is a passable addition to the slash-up genre – acceptable Halloween fare for the fright-challenged, or anyone with a soft spot for the music of Hilary Duff.

Alice Lowe’s directorial debut may falter in its grip, especially in story and tone, but it’s a daringly evocative film that marks a filmmaker of imagination and promise.

So it may not be Citizen Kane, but it is a hilarious comedy (although not a very believable one — there can be no eight-year-olds this ingenious) that kids will love and adults won’t mind sitting through either.

It’s a formula that works and, as crowd-pleasing mainstream Britcom goes, it’s a relatively solid, if flawed, entry into the genre.

Directed and played with terrific verve, this moves so fast from one special effects set-piece to the next that there's no time at all to reflect on the basic ridiculousness of its Chinese box of a plot.

Political chicanery and psychological mystery entwine with some stunning underwater sequences but don’t gel entirely satisfactorily.

While it’s not a crossover classic, this has enough wit and charm to entertain both big and little people.

What saves the movie is its relaxed sense of self-awareness. Reynolds all but winks at the audience with his collection of Dick Dastardly sneaks and dodges, but holds onto that winning, hangdog warmth that got him to the top of the pile in the seventies.

A compelling, if obscure, experience with evocative scene-setting and dreamy atmosphere.

An unorthodox romance that will leave you sweaty-palmed and tearful, in equal measure. It doesn’t quite reach the heights it could, but there’s a hell of a view at the top.

Even thought it's the third such effort to employ handheld camera in a zombie flick, this has more than enough shocks to hold its own.

Cinema’s least-subtle and most-escalated series hits its sky-high-concept plateau. It's a film that somehow finds new and fabulously silly things to do with cars, while — Momoa’s questionable villain aside — being exactly what you’d expect.

Don’t expect the true terror of Perkins’ Longlegs or King’s source story. Do expect plentiful gags to make you, well, gag. The best scenes here are a gory glory.

While you cannot dismiss its place in history, its power is in what it represented rather than what it did.

It’s absolute nonsense, of course, but does quite nicely as knockabout Friday night fun. We can smell a sequel if Travolta can be bothered.

An opulent and accurate portrayal of the period that drags too much to stay interesting.

This gentle and intimate coming-of-age drama from beloved playwright Annie Baker is an assured but frustratingly slow-paced directorial debut which evokes the bittersweet nostalgia of ‘90s pre-teen girlhood.

The three leads make a decent fist of it, but they're somewhat let down by a script that fails to sparkle and a less-than-perfect balance of action and emotion.

This will not appeal to everyone, whether it will appeal to anyone is another question. With dark humour from time to time, underneath an extremely repulsive concept, this is a relatively conventional horror movie.

A flawed work held together by Alwyn’s tender presence.

The plot’s all over the place, but there are a lot of laughs and some strong action beats along the way.

Diehards might be disappointed at the lack of chainsaw wielding, but this is Campbell’s finest hour since you-know-what.

A Mex-set spaghetti Western featuring toilet humour, organ transplants and the closest Mel Gibson’s come to playing Martin Riggs since the last Lethal Weapon.

Hardly as revolutionary as the activists it draws inspiration from, Call Jane is nonetheless a charming, big-hearted story of a fight for justice, and might just change a few minds along the way.

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.

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

It's not on a gasp-inducing making-the-Statue-Of-Liberty-disappear level, but with its opulent presentation and confident storytelling, The Illusionist has the power to keep an audience rapt like a good old-fashioned card trick.

Covering alcoholism, manslaughter, infidelity and petty crime, there’s a rich spread of melodrama on offer, but none of the tales have meat enough to satisfy alone. Together, though, they form a varied backdrop to showcase some respectable character work.

Nail-biting and genuinely heartbreaking moments mean it's emotionally involving, even if it isn't the cheeriest drug dealer saga in town.