Buoyed by riveting lead performances, and driven by a compelling real-life story, this is proof that Phillips can handle grown-up material. All without a naked Ken Jeong.

Zac Efron makes a convincing bid for movie stardom — and Ratajkowski proves she’s more than just a pretty face — in this flawed but fitfully entertaining film, even if it all goes a bit Pete Tong at the end.

Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.

Refreshingly free of the gangs, guns and drugs clichés associated with the milieu, this is a satisfying, spicy little picture.

Short, sharp and mostly satisfying, this is a thriller that sticks to the stripped-back fundamentals of the genre — no more, no less.

Reassuringly formulaic, this is a straightforwardly inspirational-by-numbers sports movie, made watchable thanks to Jharrel Jerome and Jennifer Lopez.

If it doesn’t hit the Top Gun: Maverick heights of legacy sequels, Jurassic World Dominion is scattershot but entertaining, delivering fun, familiar set pieces. Come for the delight in seeing Neill, Dern and Goldblum together again, stay for the bit where a bloke on a scooter gets eaten.

The Occupant is a slow burn of a thriller that never catches fire. Looking to skewer the pursuit of perfection during late capitalism, it misses both its satiric targets and a sense of kitsch fun.

A solid haunting-possession movie with good character work and unusual local colour, this works in a few surprises, sufficient scares and a nicely barbed punchline.

Beyoncé proves her Dreamgirls turn was no fluke in this so-so Blues melodrama.

This might not be the venerable animation house at its very best, but it is a reminder of why they have endured for so long. Why change a formula when it’s a winning one?

As elegant as the man's clothes, this handsome biopic traces 20 incident-filled years in the life of the designer.

Neither good nor bad. Scales dizzying new heights of okay. Aims for mediocrity... and nails it.

Pacy thrills are doled out in a solid Sam Raimi-approved pulse-raiser with a few nifty ideas up its sleeve. Shall we try ‘Don’t Smell’ next?

Minus delightful stars, this would be laboured indeed. Thanks to them, it scrapes along as modestly appealing fluff.

The film falls into the gap between the manifestly unique qualities of the musician in performance and the near complete mystery of an intensely withdrawn private life.

Not exactly genre-bending innovation or anything but a decent documentary about an important episode in history of oil company exploitation.

Clever cybernatural thriller.

1954 musical that is woefully miscast in places and extremely dubious in its portrayal of African-Americans but does boast an on-form Dorothy Dandridge.

An extremely silly, inconsistently funny, action-packed jaunt, carried by the sheer star power of J-Lo, with strong support from Josh Duhamel and Jennifer Coolidge on top form.

Despite messy plotting and occasional ill focus, fantastic lead performances help The Strays find its way before a knockout ending really carries Martello-White’s eye-catching debut home.

If weapons and wizardry get your blood up, and you prefer your movies dark and brooding and minus the sandals, Solomon Kane fits the bill. It may lack The Lord Of The Rings' majesty, but Robert E. Howard fans will lap it up.

It won’t win any awards for originality but Flight Risk is a fun, unpretentious, tight 91 minutes — especially if you’ve always jonesed to see Downton Abbey’s Lady Mary cream someone with a fire extinguisher.

It’s not a hugely innovative biopic, covering just a short period of Bader Ginsburg’s extraordinary career, but this is still a vastly inspiring account of the fight for equality.

The unlikely superhero of this film is the hamster, who brings the funny amid a flurry of weaker gags. But Bolt still has charm -- it just won't hit with the adults the way the best animated films can.

Well at least we get to see him in more leather in this one. Though one could quite possibly live without it.

As a counterpoint to the (much better) "Spotlight," it’s a fascinating look at modern journalism – but perhaps not always for the reasons its makers intended.

Though stuck with stretches of guff and looking all too convincingly like video-era rubbish TV, Mindhorn delivers regular proper laughs and eventually wrings just enough drops of pathos to scrape by.