A TV show expansion that is much better than expected. Kids will be there on the double to lap it up, and adults will find it tolerable, which is about as much as you can hope for. But we won't rest for one second until we find out what's happened to Everest. Bring in Benoit Bark to solve the mystery next time around.

A solid if slight look at the quicksilver, complex character behind one of children’s literature’s most beloved creations.

An informative but incomplete look at Whitney Houston’s life and death, this will frustrate fans as much as it fascinates them.

Geoffrey Rush and Judy Davis, predictably impressive in the roles of abusive, alcoholic dad and troubled-but-tough mum.

Right from the intriguing opening sequence, which hints at the bleakness which envelops the movie, Willis’ Talley is an interesting character.

A coming-of-age story which thoughtfully and heartfully tackles the repellent practice of conversion therapy. Moretz is excellent, but this summer camp/institution drama cocktail could have done with a little more fizz.

A good, efficient crime thriller, let down by clunky social commentary but lifted by excellent performances, including perhaps Brad Pitt's recent best.

The film is let down by an approach that goes for impact over insight, but Last Breath is a worthy entry to the ‘hostile environment’ documentary subgenre.

It'll split the ranks like a pizza cutter: you might admire it as a Warholian blur of pop art, gawp and gasp at its Hot Wheels-for-real dynamism, or get a headache.

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.

An intelligent, sapphic-tinged and superbly acted rural thriller with Moore, Sweeney, Gleeson and Shaw all on fine form, only slightly dampened by some blatant product placement.

Has cult status now but the plot is fiendishly complicated.

A nasty little chiller from the Saw director with the evergreen De Mornay on top form.

This is yet another one of those mindlessly enjoyable outings which eschews such unimportant details as plot or characterisation in favour of the biggest, flashiest special effects money can buy. Twister with lava, if you will.

Red Dawn is at once a mainstream shoot ‘em up action picture and an ideologically demented exercise in American paranoia.

As sweet as a sugar plum and only slightly more nutritious, this shows scars from a tumultuous road to the screen but still emerges as a whimsical, likeable fairy tale.

Sumptuous and self-indulgent, Sorrentino's latest is a Fellini-like feast for the eyes.

Despite Hitchcock's own reservations this is definitely worth a look. Interesting to his aficionados and darkly funny and depressing in turns.

Lame, but in a good way.

On a scene by scene basis, it is mostly great fun but suffers from a contrived script which repetitively drags characters back to the eponymous magical board game for another effect-producing throw of the dice.

It says little that is new and lacks heat, but Wilson and Burke inhabit a compelling mismatched couple, with Wootliff finding cinematic ways to get under their skin. A flawed but admirable attempt to take the temperature of a dark, modern relationship.

A romantic drama which has lost some of the intended edge thanks to the Hollywood treatment.

More than an average thriller, but far from Lumet's finest hour.

This is a wilder, bigger thing than just another farmyard sink drama. There may be little you haven’t seen elsewhere, but there’s no denying the skill here.

Slow, ponderous, meticulously rendered realism that will appeal to specific audiences of slow, ponderous, meticulously rendered realism, with a heart.

A severe portrait of fortitude under extreme pressure, somewhat marred by blinkered politics.

Competent and well-cast, but it crams too much into the runtime and loses the elegance of the novel.

A moody, engaging end-of-the-world horror-drama, if a bit too apocalypse-lite.