What begins as a series of pleasant revelations and a deft example of genre defiance is nearly crippled by cliche in its second half, but The Rock's surprising dramatic magnetism will hold you until the final whistle.

Nail-biting and genuinely heartbreaking moments mean it's emotionally involving, even if it isn't the cheeriest drug dealer saga in town.

Yes, disbelief is required not so much to be suspended as removed altogether, but it barely matters as this is an adrenaline blast of the highest order.

Brimming with ideas and laudable ambition, it's well worth a look.

Gerard Butler proves he has more in the tank than just thoughtless action with this Middle East-set thriller, which is unexpectedly interested in the people and politics behind the usual explosions.

The late, great Robin Williams brings great nuance to the anguished Nolan’s inner struggle in a slight but sensitive story about a man facing a life-changing choice. It’s a worthy legacy for a beloved, talented and much-missed actor.

A compelling idea delicately handled and neatly played, especially by Bullock. It just lacks the emotional directness to turn the good into the great.

An initially cool premise that goes nowhere interesting as it heads off somewhere else too quickly. Hartnett does his best, but director Shyamalan seems more interested in trying to convince us of his daughter’s pop-star credentials.

An improvement on Murder On The Orient Express, with the increased focus on Branagh’s Poirot (even with its strange moustache obsession) welcome enough to distract from the problems with some of its ensemble and its too-obvious reliance on VFX.

A genuine disappointment from an intriguing, potentially even subversive premise. It’s another commanding performance to add to Monroe’s oeuvre, but this Cradle is more frustrating and forgettable than it is thrilling.

Director Chloé Zhao’s entry into the superhero world is assured, ambitious and told on a dizzyingly cosmic scale — but even it can’t escape the clichés of superhero storytelling.

A fiendishly effective holiday-gone-wrong thriller that's better at cranking up the agoraphobic action than fleshing out its characters. Still, it'll find few fans at the Mexican Tourist Board...

Andra Day is excellent as the jazz singer struggling to survive in a hostile world — but the film around her can’t decide exactly what story about Billie Holiday it wants to tell.

Okay, but it lacks conviction.

All along, of course, we are supposed to realise they're made for each other, except that that's a little hard to swallow when there's so little chemistry between them.

Not exactly a world leader in the action movie stakes – but entertaining enough, particularly thanks to Viola Davis. 

It feels a little like ‘a very special episode of The Walking Dead’ and might be a tad low-key for its field, but Schwarzenegger and Breslin are good and the payoff is affecting.

Enjoyably satirical and occasionally insightful, it's betrayed by some lazy stereotyping.

Guilty, with one or two mitigating circumstances.

Fans of the original won't be disappointed, but ultimately it's just another decent, arguably unnecessary, '70s horror remake.

An enjoyable journey with a stellar cast, though the baggage we carry as modern viewers sees this ride derailed before its denouement.

An engaging study of a beautiful but mysterious mind, which also reveals the stressful nature of world-class chess tournaments and raises the deep question of where intelligence actually comes from.

With flying pigs and magical nannying, this will charm children - but it could have been a little more charming for adults.

One or two serious scares and some excellent creature design work make this a superior British horror sci-fi.

It’s soppy and sentimental, and it’s no longer possible to take the famous pottery sequence seriously, but some neat special effects and a healthy dose of humour prevent it from becoming mawkish.

The plot is predictable and the look unmemorable, but Johansson has nevertheless crafted a pleasingly old-fashioned character piece with just enough bite to balance its emotion.

Dated of course, being typically 80s, but maintains a certain charm.

Director Steve Miner, on board because Carpenter passed, made two of the early Friday The 13th sequels and manages the business of the sudden knee-jerk shocks with ease, realising (as the previous sequels didn't) that Halloween movies are supposed to be scary not violent.