It has its moments, but it blows the interesting premise — the resurrection of Jesus told as a mystery — too early for an overlong, overly religious finale.

A small but effective portrait of adolescence in Scandinavia, unpretentious enough to avoid heavy-handed lessons, but not bold enough to become an all-timer.

A gentle trance-out and the strangest Palme d'Or winner in a while.

A gruelling watch and a searing indictment of America's disregard for its indigenous peoples.

It's safe, it's mainstream and it's silly, but Guttenberg and Hannah strike up enough chemistry to give this big budget apparition at least a little depth.

At once awe-inspiring, jaw-dropping, eye-rolling and head-scratching, this is animated cinema on a scale rarely seen. It doesn’t always hang together, but on its box-office achievements alone, Ne Zha 2 has earned a place with the immortals.

By driving back to the core homespun wisdom of Cars, the third film is a course correct from the second. But this is still not vintage Pixar.

A bloody-knuckled fightfest, back-dropped by the beautiful Welsh countryside, this defies its budget to bring a little epic to Viking Britain.

This is a clever premise stretched perhaps a little too far.

Strong performances and meticulous direction make this consistently disconcerting, but the subplot distracts from the moving human drama.

A black comedy with flashes of genius, but let down by a sharp slide into chaos.

An old-fashioned literary biopic with all cliches intact and some pseudo-steamy grapplings to keep interest, if you must, up.

Rising to the challenge of doing something new(ish) with an overworked sub-genre, this may not be particularly scary or funny. But it belies its modest budget to splatter to knowing effect.

It is entirely predictable from moment to moment and frequently laughable in its portrayal of international relations and politics, but it’s also funnier than it needed to be, and, thanks chiefly to Zakhar Perez, often charming.

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

It’s not a classic, but this colourful combination of Halloween and Back To The Future is undeniably a scream.

An old-fashioned, B-movie creature-feature with some CG gloss. Beast is as predictable as anything but it’s a fun, silly, well-made film about a man punching a big cat.

Odd-couple chemistry and a dark underbelly keep this Danish noir adaptation compelling.

Liam Gallagher: As It Was lacks the narrative shape and drama of previous Oasis doc Supersonic, but provides an interesting snapshot of an artist in transition, both professionally and personally.

While strong on establishment prejudice, the coverage of clashing egos and agendas isn’t always incisive.

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.

Perhaps a folly and – Kikuchi aside - too deadpan to be a romp, this is still a decent, colourful samurai spectacle with a classical look (lots of symmetrical compositions) and a story which stands up under multiple retellings.

There’s a fine line between depicting the way Marilyn Monroe was underestimated, and joining in with that assessment. Blonde doesn’t always wind up the right side of that line, but has spectacular visual fireworks to spare.

A lengthy, visually impressive period piece with little in the way of new material or fresh spins on history to distinguish it.

This doesn’t reinvent the wheel, and keeps you waiting too long for the final showdown — but when the creatures collide, it still delivers satisfying thrills.

A beautiful, exotic and well-acted cultural hybrid, but it’s never as moving as it ought to be.

Domestic chills, body horror, paranormal scares and gore-drenched action combine in a very distinct but rather uneven — and at times contentious — take on a classic monster icon.

Stallone and Russell play well off each other, and with Palance lurking in the background, this buddy-breakout never loses its way.