Like the Minions, this instalment is barely distinguishable from any of the others, but it’s easy to be won over by its nutty joy and enthusiasm.

Witty, sharp and charming, this romantic comedy is exactly what's needed when Channel 4 aren't showing repeats of Friends. All three are equally watch able, each with their own reason for renting the apartment and each very different.

The odd conclusion renders it somewhat oblique, but Perfume is a feast for the senses.

A wasted effort with a limp storyline that fails to do Michael Crichton's book justice.

A sub-Hitchcockian thriller with enough forward momentum to thunder over its many plot holes, The Commuter is a surprisingly enjoyable if instantly forgettable crowd-pleaser that takes the audience for a ride — in more ways than one.

A vital, if slight, study of selfishness and fractured relationships, Leaving is illuminated by the odd, off-balancing twist.

Okay, it may not be Shakespeare, but it's a welcome bonus, for neither Chow or Wahlberg looks out of place in crossfire that would likely leave trained military personnel shell-shocked.

A fair-to-middling auto-noir with a hole in the middle roughly the size of its leading man’s head.

Mamoru Hosoda’s continuing experiments with animation are passable enough. But it’s not enough to uplift this loose adaptation of a literary classic with its rather clumsy thesis on cycles of violence. 

An ingenious, wildly stylish new take on the body-swap movie, this deserves to be a Gen-Z cult classic. 

It doesn’t hit the heights of Raw and Titane, but strong performances and the moving familial drama mean Julia Ducournau’s third feature is still an impactful watch.

Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved.

Hampered by a script that fails to make the central love affair work and few new ideas while they’re stranded at sea, even the best efforts of its talented lead pair can’t keep this afloat.

Not a Farrelly brothers classic, and (some testicle-washing aside) not much in the way of their trademark gross-out humour, but the boys from Boston do an admirable job of transferring Hornby's story into the States and onto the baseball diamond.

A low gag rate, irritating unlikeable characters and mean-spirited moments sap the joy out of a sweet true story. Looking for a freewheeling feel-good summer comedy? Tag’s not ‘it’.

Unashamedly sentimental, but all the better for it.

It’s always nice to see Illumination outside of its Minions comfort zone, but Migration is mostly generic. A bit of a flightless bird.

A load of kids singing Beatles tunes? You better believe it.

Director Sullivan lingers too long in every photogenic location and drags out every incident as if he's making six episodes of a not very sparkling serial.

The Two Jakes is well-acted and looks fabulous, cinematographer Vilmos Zsigmond paints it eerily bright and shiny.

While the morality of D-Fens methods are questionable, there's a resonance about his reaction to everyday annoyances, and Michael Douglas' hypnotic performance makes it memorable.

It’s a conversation starter: a cultish exploration of female sexuality in a culture dominated by prostitution and patriarchy.

A gripping modern morality tale with a credible cast and a compelling premise. The film is heavy on self examination and will make you think: what would you do?

Far from a puff piece, a no-holds-barred, melancholy, often surprising examination of Norway’s most famous — and underrated — musical export. A must for fans — but prepare to brace.

It's not as poetic as My Darling Clementine or as historically accurate as Sturges' sequel-remake, Hour Of The Gun, but it is a wonderful evocation of the brassy Westerns of the 50s, when Burt and Kirk demonstrated more machismo than a whole posse of Arnies or Slys.

Another all-kicking, punching, shooting and exploding dose of Besson born action, and Jason Statham proves that his action mettle in the first instalment was no fluke.

Very funny underdog comedy that’s genuinely heartwarming and full of charm.

Part road trip, part revenge movie, this is a tentative tale of a man who's not going to take it anymore, sharp on the fallibility of human foibles and sometimes stingingly funny, too.