Despite its messy plot and underwhelming villain, the strong voice performances and stunning visuals — and, of course, Sox the cat — make Lightyear a solid space adventure.

Overlord injects a healthy dose of schlock into familiar war-movie tropes to create an entertainingly grungy hybrid, but it never quite kicks into overdrive.

Despite one or two nice moments and the naturalistic tone, it's all a bit of a slog.

Lovely visuals, but this is a rare miss from Sony Pictures Animation. Watch KPop Demon Hunters again, instead.

Its kids-say-the-funniest-things gags become one-note, but Good Boys has consistent laughs, winning performances, and a dollop of sweetness to boot.

A solid, old-fashioned Irish Western about what it means to hang up your rifle. It isn’t especially deep, but it’s good to see Liam Neeson find some character depth among the usual shooting and grumbling.

There’s quite a bit to admire in Motherless Brooklyn, but mostly in detail work — the hats, the cars, the join-the-dots conspiracy theory — but it doesn’t really catch fire as either a private-eye mystery or a study in Tourette syndrome savantry.

Neither a great step forward for fat acceptance nor a damning blow against it, The Whale is best appreciated as a moving, stripped-back character study, with a stunning lead performance.

It’s handsome, involving and stars the cream of British acting talent — but so did Lean’s unbeatable version, and Newell and Nicholls’ safe, schoolteacher-friendly interpretation makes no real case for going down this much-travelled road once more.

Somewhere between the pop-culture deconstruction of "Zombieland" and the skewed romance of "(500) Days Of Summer," this manages to make the apocalypse seem charming. Warm is the right word.

As a mindless summer horror diversion, Crawl is watchable if rarely all that thrilling. The movie’s far from toothless, yet often substitutes easy scares for any real substance, and suffers for that.

The story is programmatic and the indie stylings feel tired but Handsome Devil is a winning, enjoyable call for individuality. And Nicholas Galitzine and Fionn O’Shea show promise for the future.

Despite the hint of a stiff-upper-lip kind of reserve, this is astonishingly brutal. And Firth’s performance makes this dark, dark story land.

A relatively subtle yet moving entry into the Dolanverse, where explosive love is sublimated beneath the ebb and flow of friendship rhythms, and characters are revealed in tender observational details.

A Mex-set spaghetti Western featuring toilet humour, organ transplants and the closest Mel Gibson’s come to playing Martin Riggs since the last Lethal Weapon.

Painstakingly shot, but emotionally fallow.

Stillwater mashes up quest-for-justice, father-daughter dramatics, fortysomething romance and mid-life introspection for a refreshingly adult drama. It doesn’t coalesce completely, but Damon and Cottin keep it engaging.

A script with a streak of clever cynicism and poignancy, a soundtrack of tunes you thought had long since departed to the vinyl graveyard and one of the most adorable screen pairings in ages in Sandler and Barrymore and the result is a film which, while hardly high art, is simply irresistible.

Cheesy? Certainly. But strong performances and a heart-warming storyline make this a winner.

A solid, often entertaining life-of-crimer which benefits from some stylistic touches and a faithful, convincing central performance.

Everyone’s trying hard, but they can’t quite live up to the particularly gentle, warm tone of Pooh himself. Unlike the bear of very little brain, this is a film pulled in different directions with entirely too many thoughts in its head.

It's an intelligent, well-written, excellently played movie, with top flight gore/horror effects, perverse humour and a provocatively bleak vision. Also, it has the world's first true zombie hero in Bub, who listens to Beethoven and eats people.

A frothy fantasy about a boy and his bear that makes up for in style what it lacks in substance.

Top-flight muscleman entertainment that is not afraid to have a brain or two in its head.

More sentimental, less spiky than Mihaileanu's stock-in-trade, Le Concert is an enjoyable take on the underdogs genre. And Laurent and the music are sublime.

A vibrant and virtuous adventure packed with all the heart and heroism we’ve come to expect from DC’s shining light. Wonder Woman 1984 really is the hero 2020 needed all along.

An interesting, well played and well made attempt to reframe Shakespeare’s most famous play through a feminist lens, Ophelia ultimately doesn’t have the boldness to deliver on its resonant idea.

A beautifully staged film with everything in its place, this is both an affectionate homage and a timely commentary, falling only slightly short of its own ambition. Classy pulp fiction.