Fun, funny and affectionate, though it packs the emotional wallop of an undernourished high school nerd.

One of Streep's finest-ever performances. But beyond that - whatever Morgan and Lloyd's intentions - it's little more than a myth-enshrining exercise.

The film has a real sense of a situation slipping out of control, with marvellous displays of hysteria matched by movie trickery that spreads the edginess to the audience.

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

An honourable attempt to return the mainstream thriller to a more serious, intelligent vein, yet ultimately lacks the complexity of characterisation, dense subterfuge and overall feeling of weightiness that separates the great from the good.

While its reach may exceed its grasp, any shortcomings of Pathaan are papered over by the sheer charisma of its lead actor, who once again demonstrates why he is one of the most popular movie stars in the world.

Quality acting and writing and appropriately understated direction, but a touch too polite for its own good.

A neo-realist fairy tale that charms without losing sight of its key themes of exploitation and truth to one’s self.

If you don’t like Saw, this isn’t going to change your mind – but it’s skilful, satisfying schlock and respectful of its fanbase. And the final death is a show-stopping coup de grace.

With some gorgeously stylised animation and sharp comedy making up for its somewhat lightweight storytelling, The Bad Guys is... not bad.

Dramatically it’s bitty, with, to paraphrase a great American newsman of the time, too much, too fast. But there is no denying how absorbing the tumultuous events of those four days remain.

The Conjuring: The Devil Made Me Do It hits some major horror notes, with Wilson and Farmiga providing much needed heart and soul, but the new Satanic worship elements causes the franchise to take a farcical turn.

The music, even after a quarter of a century, is the film's redemption.

The Man Who Killed Hitler And Then The Bigfoot is a strange but enjoyable mishmash of genres and ideas held together by the gravitas and class of Sam Elliott.

Full-force performance form Ryan Reynolds but not as funny as it hopes it is.

It tootles along being cute and fluffy like a twentysomethings' version of Sabrina The Teenage Witch, but to further its notions of sisterhood and the power of women, it also takes a spin through Thelma And Louise territory, then revisits The Exorcist to up the supernatural content. It's enough to make your head spin.

Lithe, bold, often funny and full of characters to cheer for, it never pretends to be anything more than a trigger-happy romp. If that’s what you’re after, The Losers offers plenty of explosive entertainment.

It would be easy to slam this flimsy romantic charmer for its cloying whimsicality, but at the core of its misfits-need-love-too storyline lies a warmhearted charm so captivating that only the most hardened cynic will fail to be enchanted.

Corbet emerges as an actor of sensitivity and depth, but it’s Gordon-Levitt who steals every scene as the damaged, destructive but ultimately sympathetic rent boy.

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 all totally farfetched and skates imperturbably over several questions of logic that will spring unbidden to the most accepting mind. But it's entertaining, inconsequential fun.

For all the gags flying around, and all the friendly insults batted between Blanchett and Black, the script lacks the sparkle and polish of many of the classic Amblins it so enthusiastically emulates.

Come for Nic Cage fighting a robot alligator with a mop. Stay for some inventive licks on the dead-by-dawn horror-movie template, though the other characters are nothing to shriek about.

This is an attempt to be both a high-octane actionfest and a satire on such films, the result of which is the weirdest concoction: the metaphysical blockbuster. No wonder it tanked.

Although certainly an insightful study of the pop star’s populated psyche, Miss Americana is more of a mid-album track than an anthem. What could be raw and rowdy instead feels like an entertaining but tapered means of rebranding.

It's like "The Bridges Of Madison County" with more shouting, only not nearly as good. No surprises whatsoever, but nice scenery, attractive stars and another credible, affecting performance from Lane that hoiks it up an extra star.

Think Donnie Brasco, with the IRA instead of the Mafia. Jim Sturgess dominates with a star-making turn, although some stylistic slip-ups let him down a little.

Imagine if Stanley Kubrick had made Ghost and you're some way to this classily restrained oddity, but its morbid preoccupations and ambiguity might prove too cuckoo for most.