Sharper than a stake in it's genre references, The Monster Squad appeals to cinephile as well as teen sensibilities.

The scares and monsters are effectively conjured, but if you’re not familiar with Austin Schwartz’s source material, you may be left a little cold.

An improvement on the last outing for Jackman’s not-so-merry mutant. If only it trusted enough in its unique setting to forgo a descent into aggressively awful formula.

Thrillingly paced, ravishingly shot and eerily topical, Sicario 2 retains much of its predecessor’s dark charm despite its shuffled creative personnel. But a jarringly Hollywood ending dulls its overall impact.

Smith might be the focus, but while he’s got the charisma and the moves, it’s Chan who makes it punch above its weight. Nice scenery too.

Fennell’s second feature is both evocative and provocative, with lashings of style but questionable substance. It doesn’t stick the landing, but the ride right before the nosedive is a properly enjoyable one.

It’s tight, suspenseful, funny and packed with great music.

An affectionate portrait of a remarkable woman that loses its grip when it bites off more than it can chew.

Maybe this would hit the spot for a Sunday-night sofa slump but it’s more patronising than perceptive when it comes to portraying ageing. As disappointing as a stale scone.

Perhaps the riskiest mainstream movie in years, Vaughn’s love letter to spy movies may be uneven in places, but it’s ultra-violent, envelope-pushing, and fun enough to overcome the flaws.

It’s messy, with a middle section that sags, but Birds Of Prey has vibrancy, anarchy and balls to spare. Harley and Joker are dead. Long live Harley Quinn.

This film is more known for being the one which introduced Goldie Hawn to Kurt Russell than anything else, which is somewhat unfair as at its heart lies a sweet romance, with good performances from both the leads and an Oscar nomination for supporting actress Lahti.

Despite its admirable strengths and the fact of it being a true story, there is somehow a failure to completely connect with the fierce boy, giving his unhappy and alienating youth an unfortunate air of unreality.

The founding of a comedy institution shot as a madcap thriller, Saturday Night glides over the surface rather than drilling deep, but it’s largely a hell of a fun 109 minutes.

An absolute treat. In spite of its disappointing climax, this is Apatow’s smartest, rudest and -- yes -- funniest film yet.

A general disappointment, but then with David Bowie and Patsy Kensit what did you expect.

A good-looking and entertaining British horror film.

Vikander and Fassbender are riveting in a handsome period drama that begins beautifully, but becomes increasingly contrived as it tries to wring as much drama as possible from its set-up.

Remote, murky and interminable.

A lightweight, tinselly film with some nice touches and appealing performances, though it never lands its darker moments.

Not a sequel to the bland film of Jacqueline Susann’s trashy best-seller, this is more like a demented remake, alternating modish psychedelia with deliberately square moralising.

Not dire, but you can’t escape the feeling that there’s a good movie in here trying to get out.

A close encounter of the wordless kind, this is a smart and splendidly scary horror sci-fi, with a brilliantly brittle turn from Kaitlyn Dever.

As well-constructed, unique, hardboiled and brutal as Zahler’s prior films, but this one leaves a less welcome bad taste in your mouth, thanks to its repugnant heroes and racial stereotypes. Impossible to dismiss, but hard to warm to.

A very thin story stretched out for over two hours, this is a melange of the wonderful and the pompous.

Sandra Bullock and Channing Tatum make a sweet and spiky couple in this likeable caper. It’s never going to challenge The African Queen for quality, but it offers 
a consistently good time.

A pick-up after the second film, if not as assured as the first. Rapace sets a high watermark for Rooney Mara in David Fincher's remakes.

The X-Files can stand proud as a genuine movie with a beginning, a middle and an end, two charismatic leads and a franchise ahead of it.