If "No Country For Old Men" was vintage port, Burn After Reading is a shot of tequila: eye watering and hard to swallow, but the after-effect is terrific.

Resurrections suffers from an identity crisis, going from being supremely fun and knowing to weirdly pedestrian. It’s a slippery mish-mash— entertaining in big bursts but ultimately a little hollow.

It might be a minor work from a major filmmaker but François Ozon’s remix of Rainer Werner Fassbinder’s classic has its pleasures, chiefly strong performances across the board, especially from Isabelle Adjani and the immense Denis Ménochet, embodying the German maverick without ever descending into impersonation.

DiCaprio delivers a startling prettyboy-to-tough nut makeover – but he has to play it close to his chest here for the storyline to play out. Once you get past the trickery, Shutter Island offers sumptuous, enthralling, shivery gothic filmmaking with a hardboiled heart and a sly line in asylum humour. If a pot is being boiled, at least it’s an intricately-decorated pot on a spectacular fire.

At times a subversive, sub-Marvel thrill, it might be best to come back to this after the glut of goody-goody heroes due to bombard our screens have passed.

The sometimes dark sci-fi thriller tone is punctured nicely by Quaid's one-liners, and Capshaw is on good form. Very, very '80s, but lots of fun too.

A solid if slight look at the quicksilver, complex character behind one of children’s literature’s most beloved creations.

Though it doesn’t stray far beyond fan service, this is a comfortable extension of a beloved British show that delivers a reliable mix of quotable comedy and heart.

Also known as The Liver Eaters (although no livers are eaten only a rabbit that may have been a cat) and Cannibal Orgy (though there are no orgies), the long-delayed Spider Baby is definitely one to file under weird and wonderful.

Fighter delivers exactly what you’d expect from an Indian military blockbuster – excitement, passion and a level of patriotism that’s equivalent to being repeatedly punched in the face with the Indian tricolour.

The Lost Boys remains a supremely watchable example of something the '80s did right.

The ingredients are absolutely familiar, but what makes the whole recipe satisfying is the sheer amount of gruesome fun Roth manages to have with the concept. Don’t go in expecting characters you’ll care about — just enjoy the stalk/slash/slice/bake terror on offer.

It’s chaotic and episodic, but this is Cera’s star turn. "Superbad" meets "Fight Club?" That’ll do it.

Love And Monsters is a blast, an unassuming, immensely winning monster movie filled with great lo-fi creatures and a likeable cast. As a template for making a leaner, less bloated summer movie, Hollywood could do a lot worse.

This needs its 'based on a true story' caption because otherwise you'd never believe it.

Hotel Mumbai benefits from strong filmmaking and an unflinching gaze, yet it lacks dimensions, both in its characters and take on its subject matter. Still, it’s a punchy, promising debut.

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.

There's no escaping the teen angst or, for that matter, Araki's thumping message with the angry director managing to slip the odd political curve-ball into proceedings as if he's been watching too many Oliver Stone movies.

Setting out more to challenge us with its ideas than make us whoop at the action, Vendetta can be clumsy, but there are enough impressive flourishes to make up for its stumblings.

A late entry in a crowded field, Spiderwick works hard to set itself apart from the competition, and almost entirely succeeds - no mean feat these days.

Knightley and Mbatha-Raw headline an excellent band of British talent, but the film’s focus feels sadly misguided. There’s a great story within Misbehaviour — we just don’t get to see enough of it.

Significantly better than the first film or, say, the first two Harry Potters, but we still can’t love it as much as we do the books. That said, if they keep improving at this pace, Dawn Treader should be a fantastic experience.

Despite some tired storytelling devices, Lee is a handsomely made, moving biopic of a subject who deserves to be honoured — with stellar chemistry and performances from Kate Winslet and Andy Samberg.

A bright and breezy sideshow adventure makes up for its overly frantic pacing with a charismatic central turn from Alden Ehrenreich — strong enough to make us want to see even more of him in Solo mode.

Bold and beautiful ideas perfectly realised.

Black proves the perfect blacksmith, forging smart new tech and scenarios for the swaggering super-genius. If this does turn out to be Downey Jr.’s final solo outing, it’s a very strong exit.

The acting is all first base, the script a laughable stream of gung ho-isms, the action merely solid and the effects indifferent. Yet, you still stroll out with a grin a mile wide.

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.