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.

Another all-kicking, punching, shooting and exploding dose of Besson born action, and Jason Statham proves that his action mettle in the first instalment was no fluke.

A solid, straightforward biopic about a fascinating individual and his destructive relationships, with strong performances and a healthy sense of naffness.

It's Sarah Polley through and through: slightly too glum for its own good, but reeking of quality and feeling.

The acting is wooden, but fans of the director’s more shocking work might enjoy its gentle self-referential comedy.

Murakami's 'unadaptability' for the screen is self-evident to fans of his books, but this is a noble if bleak first stab.

Lightweight but likable.

As awkward as McGregor's geeky hero and almost as confused as the titular plan, Salmon Fishing is still very likable if you're prepared to take the bait. And it might even be Scott Thomas' funniest turn since "Four Weddings And A Funeral."

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.

There is much pleasure to be had watching a born storyteller juggle more balls than even he can carry.

Anyone unfamiliar with or underwhelmed by the music of OutKast will find little in this thin piece of cinematic storytelling. Fans happy to luxuriate in its artistic indulgence, however, will be swept up in the weird, random, fantastic OutKastness of it all.

Hammy action yarn with an entertaining performance from Michael Caine.

Massively throwaway, but funnier and more likable than the first entry. Mainly that's due to an A-list pairing that's as inspired as it is demented.

A classic American sports movie, with all of its triumphs and clichés — kept afloat by two brilliant, warm lead performances from Annette Bening and Jodie Foster.

Very of its time but enjoyable for all that.

Even the slightest wisp of critical thought will bring the house-of-cards plot tumbling down, but avoid thinking too much and it’s a frothy, sun-drenched bit of fun.

By deviating from Stoker's text, Hammer was clearly signalling a new direction in horror. It was garish, it was sexy and it was never afraid to be gory.

Not an altogether unsuccessful adaptation of the timeless Cinderella story, it certainly scores well in terms of lavish scenery, snappy repartee and brightly-coloured mayhem.

Ultimately, this potentially intriguing character thriller loses its direction when it turns into a mean-spirited stalk-and-bash actioner.

Murray doing what he does best, if you like that sort of thing.

In all, Legends Of The Fall is a grand bore, more laughable than stirring. So big everything becomes blurry and distant, so beautiful it could be ad for male hair products.

Strong performances carry this unyielding portrait of dementia and elderly suffering that marks an interesting shift for Noé, but its relentless efforts to inflict sorrow and pain can feel overdone.

Another diagnosis of the sickness of an over-armed, money-guzzling police force, Emergency sometimes struggles to combine its cinematic form with its messaging. But there are just enough moments where it all comes together to make it feel like worthwhile viewing.

An unexpectedly entertaining mixture of good, clean Disney fun with some rather more modern action scenes, lent charm by Johnson’s natural swagger. One of the better family films in a while.

Derivative it may be, but with its echoes of "Speed," "Lethal Weapon" and "Die Hard With A Vengeance," this is a welcome throwback for audiences raised on '90s action flicks -- what they used to call "a pulse-pounding roller-coaster thrill-ride of a movie."

It’s a mesmerising turn from Wiig, but the script leaves her working overtime to carry a story that doesn’t delve much deeper than its initial premise.

It’s funny, wonderfully performed by all, visually inventive.

This no-brainer is fine if all you're after a bit of escapism, but don't look for anything deeper than that.

While it's neither as dark, funny nor peculiar as you’d expect from Tim Burton, there’s still much here to admire.

A competent, atmospheric remake, but, considering the quality of Murnau's masterwork, is it necessary?

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.

Perhaps it was not intended to serve as a sequel to the fabulous "Dogtown And Z-Boys," but Helen Stickler's documentary does pick up where Stacey Peralta left off, following skateboarding into the '80s boom.

Pretty solid gory horror.

This is cornily predictable stuff, but it raises itself on a number of counts, with Murphy's transformation from a self-assured cocksman to bewildered, lovesick drip being approached with greater gusto than might be expected.

Made with love, even in its awkward moments, this modest account of a miraculous achievement is quietly life-affirming.

Not exactly a world leader in the action movie stakes – but entertaining enough, particularly thanks to Viola Davis. 

Sentimental, cliched and at times overdone but a true weepy if ever there was one.

While this doesn't add up to much more than 'It's good to be rich and have friends', it's entertaining, with some choice performances and the laugh-out-loud quotient of a good sketch show.

Even if you didn’t know what comes next, this story of the first days of the Obamas would still seduce as a sweet, smart romance.

An unashamed exploitation movie with teeth, this has all the dinosaur devilry and gung-ho soldiering you could want. There’s even a sweet Tyrannosaur love story in the mix.

Keaton handles her appealing ensemble, the early 60s period and child's perspective of tragedy, love and reconciliation with a sure, gentle hand.

What it lacks in freshness and depth, The Gentlemen certainly makes up for in cartoon-y bluster and fun details.

Freaky Tales never amounts to more than the sum of its parts — but those parts, while uneven, are always high-energy and entertaining.

A meta-satire that doesn't quite come off.

It’s no masterpiece, but this is a promising debut from Boone and a good showcase for his entire cast.

A frustratingly soft documentary that would sooner teach the world to sing than get to the bottom of the Bin Laden enigma.

Dramatic disappointment aside, there is a feel for the unglamorous, demanding lives of the real dancers.

Waititi’s shtick runs thin, and there are badly misguided moments, but this is still a warm, heart-mostly-in-the-right-place portrait of a momentously poor sports team.

Bahman Ghobadi can’t be faulted for showcasing so many bands, and the mix is wonderfully eclectic, but the linking episodes aren’t always riveting.

Black-veined and dark-hearted, this is another persuasive character study from Campos.

Natalie Wood is stunning and the drama is full of passion but this suffers a little from 60s hollywood style.

On the basis of this expertly engineered crime thriller Djo Munga is a director going places.

A bitter howl at the injustice of the modern world, intellectualised through one of literature’s shrewdest figures. Powerful and eye-opening, but Orwell himself might have preferred a less partisan approach.

Being a Mamet, we expect superb dialogue and twists, but we also get refreshingly compact action scenes, even if the climactic airport skirmish is on the pat side. A lesser Mamet, then, but still compelling.

An upgrade from Prometheus, Alien: Covenant amps up the thrills but doesn't deliver a memorable crew member or the full-on onslaught of the series at its height.

Aside from Rose Byrne's complex performance, there's nothing here that improves upon the original.

Strange and surreal but with moments of real beauty.

Dear Evan Hansen gives enjoyable, tuneful voice to important modern-day concerns but lacks the dramatic and cinematic chops to really take flight.

An amazing tru-life story that's Hollywoodised within an inch of its life. A missed opportunity for something really special.

A worthy topic that deserves a slightly better documentary.

This slight, lightly charming comic adventure is most obviously appealing for the "Best Exotic Marigold Hotel" set — though Bryson himself was in his forties when he made his journey.

The pace drags terribly, however, and the period detail is distractingly off in small ways that become annoying. Thankfully, though, things perk up with a bravura finale, when Merrill finally takes the witness stand before the dreaded inquisitors.

Not Garbo's greatest but it has a curious charm.

Not quite a showstopper, but this reflection on womanhood boasts noteworthy performances across the board, especially from Pamela Anderson and a surprisingly tender Dave Bautista.

Enjoyable, if slight.

A surprisingly staid biopic of Ferrari’s venerable originator. In unpacking motorsport’s greatest legacy, it gets bogged down in a dull relationship drama — but the racing sequences are thrillingly visceral.

It’s unexceptionally filmed and occasionally clunky, but this is a gently heart-warming underdog story, and Turner shows real star-power in the lead role.

On one level, Stealth is technically breathtaking, viscerally thrilling action cinema of the highest order. On another, it is slavering, state-of-the-art war porn.

Walker was Oscar nominated for Waste Land this year, and while this occasionally unfocused doc doesn't hit those heights, it's still a valuable and scary film that should be seen.

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.

A Jamaican classic with an awesome OST.

As absurd as their story is, it’s hard not to be won over by Lightning & Thunder. You will have Sweet Caroline stuck in your head for what feels an eternity afterwards, though.

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.

It's gratifying to see Butler giving a proper acting role the old college try. Despite his best efforts, Forster's film, while pulling no punches, still somehow manages to miss the mark.

Shot in grainy, high contrast black-and-white with a lot of simple but effective optical and aural tricks to suggest the workings of his unusual mind, this is one of the most intimate movies in recent memory.

Well played and well shot, Run’s idea of relocating Springsteen’s America to a rain-swept Scottish fishing town is interesting, but sadly it runs out of gas and road before it hits the horizon. Less baby we were born to run, more baby we were born to drive around in circles for a bit.

Part Alien, part Gravity, just not as good as either of them. But Life whips along at a decent pace and deploys enough engaging action sequences to make it work.

It's nothing wildly original, but it is pacey and entertaining when it gets going.

As an unashamed B-movie, The Crush does what it says on the tin and entertains for an hour and a half. Except you feel kind of cheated by the supposed climax, with the build up proving more disturbing. Silverstone is convincingly equal parts Lolita and Norman Bates.

Fox is fun as a demonic harpy, but sadly the meeting of Hollywood’s two rock’n’roll queens is closer to safe studio product than slash-and-burn envelope-pusher.

Poorly written nonsense, but lovers of beefcake action will be happy enough with the heroes gymnastically vaulting monsters and slicing and dicing their way around the ancient world. An extra star for Ralph Fiennes, who is a god.

The sight of the Muppets making their first movie appearance since 1992's Christmas Carol - with no technological wizardry or flashy special effects applied to update the simple but effective puppetry techniques - proves to be a sobering experience. And the attempt of Jim Henson's bug-eyed creations to keep up with the times results in a breezily entertaining yet old-fashioned brew.

After the fizzle of the later Roger Moore Bonds, The Living Daylights brings in a new 007 in Timothy Dalton, who manages the Connery trick of seeming suave and tough at the same time, and tried to get away from the weak comedy in favour of proper international intrigue.

Ünel and the debuting Kekilli are as impressive as Akin’s atmospheric snapshots of Hamburg and Istanbul.

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

Powerhouse cameos, just enough sauce and extra anchovies that no one will be complaining about.

A gripping, affecting, strange movie -- but oddly, it's just like too many other gripping, affecting, strange movies we've seen recently.

Erman could have made a movie that left the Bette Midler stereotype in the eighties where it belonged, but he didn't. Great if you're a Bette fan, somewhat trying if you're not, though thankfully some of the sheer hamminess has been dulled with time.

Hall is very funny as the energetic adolescent pest and a good supporting cast includes the Cusack sibings John and Joan.

Despite some good moments, Agents J, O and K are missing an E.

An interesting premise but stodgy, suspense-free execution.

Franchise fans will enjoy seeing the Lamberts again, but newcomers will be baffled by the under-developed story and nonplussed by the over-familiar scares.

Lurie's remake doesn't bring a lot of fresh ideas to the table. The thick fug of moral ambiguity, so disconcerting in Peckinpah's film, is missing, replaced by certainties rife in modern horror. The result is a bit of yawn enlivened only by James Woods' delirious bad guy.

Unsurprisingly this is the worst in the RoboCop trilogy, with the plot proving ridiculous, excelling itself particularly in the climax. For what was a promising debut, it's reputation was quickly tarnished with the drivvel such as this that followed.

My Dog Skip for people in mid-life crises, it?s too talky and trouble-laden for tykes but will doubtless prove as critic-proof to dog-lovers and the stars? fans as it did in the US.

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

Neither terrible, boring nor soporific, just not very funny.

A children’s film for pensioners, 80 For Brady is an absurd, silly mess. But in spite of itself — and thanks to the warm, genuine chemistry of its legendary leading ladies — it is sweet, and difficult to truly begrudge.