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

If anything, this is too faithful to the book, sometimes getting bogged down in detail as Katniss struggles to her goal. But its epic sweep, grand designs and unyielding central performance make this a compelling finale.

One of the funniest films of the year, this is a wonderful mix of old-school Carrey outrageousness with a genuinely touching - and very modern - love story.

His unique vision as a committed artist and unrepentantly crude joker makes this sweet, disarming, intelligent fun.

Lara Jean and Peter grow up convincingly in a well-handled conclusion to Netflix’s hit trilogy, with a heart as generous as its charming central heroine.

Genuinely funny. A life lesson in never prejudging a man just because he's skinning a squirrel.

A dedicatory, sometimes sombre recreation of the career of 50s teen-throb Richie Valens, which feels like a personal project by director Luis Valdez.

There's so much story here that the characters don't have quite enough room to breathe, but it's still a fascinating look at a time, and a man, worth remembering.

This is not a simple story of an uptight English woman induced to loosen up by those freedom-lovin’ Yanks, but a delicate and brilliantly acted story of overcoming the past to embrace an uncertain future. Emma Thompson, in particular, is magic.

Hill, shooting by night and on location together with his OOP Andrew Laszlo, gives the film dazzling style. New York's oil-slicked streets become a labyrinth lit by pools of reflecting light, both scary and strangely beautiful - grimy realism it isn't. It also manages to humanize the gang-bangers to a surprising extent, illustrating the material and emotional poverty that forces them onto the streets in the first place.

While the political grit behind the saga is somewhat sidelined, this is a fun watch enhanced by its stellar British cast.

Those who predicted this wouldn’t hold a talking candle to the animated original will be pleasantly surprised. The tale may be as old as time, but it’s retold with freshness, brio and flair.

The film really succeeds with its warm treatment of ordinary hang-ups - no life-shattering revelations or pain repressed since childhood, just the genuine, everyday trials of life.

All you'd expect from an X-Men film (or spin-off, or prequel), but not all you'd hope for. It smacks of rush and compromise, but there's thankfully enough to make you feel optimistic about the series' future once more.

Graced with fine performances and commendably biting off more than it can ever hope to chew, The Prince Of Tides is a rare slice of romantic moviemaking for all those grown-ups feeling ignored since Kramer Vs. Kramer last rattled their value systems. Best to take along your mother, a large box of hankies, and a hefty dose of salt.

A tense, two-piece horror with serious kick.

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.

A well told, beautifully acted drama that offers nothing new but a comforting level of familiarity and cosiness.

Filmmaker Sean Ellis does terrific work balancing the disparate elements of his crime-laced drama.

Dazzlingly clever and hugely funny, it succeeds both as a broadening of the Monsters universe and as a film in its own right. Monsters University had a tough task, and it’s passed with honours.

The boys put in fine performances but sadly the script lacks the depth of what could have been a challenging story.

The sheer number of dick jokes will soon numb you to their impact, but this is a fun, if patchy, alternative to the glut of ‘the world is about to end unless we do something’ comic-book films.

An anti-Bond, the closest Cooke’s movie comes to an action sequence is when someone breaks into a mild run. But there’s real drama, and even thrills, to be found in this story of a very unlikely friendship that changed the course of history.

Alex Garland once again shows an unmatched ability to conjure a beautifully uneasy atmosphere, the sense of which lingers on past the closing credits — but the substance underneath doesn’t quite connect.

The ham-fisted lessons and wacky adventuring are just a skeleton on which to hang the meat of the thing: gorgeous, stunningly realised animation; frequent self-referential shrewdness; and still some of the wildest, most surreal jokes you’ll find in any movie.

A small but perfectly formed crime drama. And, without making a fuss, a proper nail-biter, too.

We've never seen Pierce Brosnan so liberated - he’s a man reborn, and for what The Matador may lack in rounded plotting, it makes up for in funny, spiky, idiosyncratic glee.

The only fireworks here are of the indoor kind, but this sensitive, beautifully acted film lingers long after the final frame. And the Newfoundland locations are breathtaking.