Packed with plenty of heart and relatability — and a powerhouse performance from Jack Lowden — it never fully resolves the tension between the grit and glamour of the wrestling worlds the Knight family inhabit.

It’s not bad, but given all the talent involved, it would have been nice for Hamburg to push the envelope a bit further and deliver something with real bite. As it is, this is more of a pleasant, but forgettable, time-filler.

Zosia Mamet is the major selling point here. In a film that’s lovely but unlikely to prove memorable, she shows she can carry a film with immense charm.

A birdie biopic that’s too keen to avoid ruffling feathers, Lowthorpe’s film still boasts two brilliant lead performances — a magnificent Foy and an even more majestic Mabel.

It may come dressed in borrowed robes, but this is a no-holds-barred horror with real bite — and surely the start of a new franchise.

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.

Continually clearing its throat to utter something profound about sexuality, this never quite delivers the speech, though its failure to fully engage the mind is made up for by its captivation of the eye.

It’s Liman’s least charismatic action movie and the least developed, but it still packs some cracking action into its brief running time and lays foundations on which a great franchise could be built.

Naomi Watts’ exceptional performance is the crucial element of this moving if flawed tale. The film to see if you’ve ever wondered how to tackle grief with a ginormous dog in the Big Apple.

Odd and sexy, troubling and touching, frustrating and mesmerising, dull and haunting. A film by Jonathan Glazer.

As frustrating as it is rewarding.

The emphasis on character in Rambo scribe Kevin Jarre's screenplay (aided by Vincent Patrick and David Aaron Cohen) gives the film unexpected maturity.

An interesting introduction to (or reminder of) Amanda Knox’s story following the murder of her flatmate Meredith Kercher, but it doesn’t have the depth of other recent true-crime investigations.

Another ‘live-action’ remake that’s darker and less compelling than the animated original, but it’s saved by Bailey’s charming performance, McCarthy’s sass and the story’s own eternal magic.

McCormack, Grant and Delpy waltz with flair in this stylish if unoriginal slow-burn thriller. Best consumed with a large glass of red wine and one’s tongue in one’s cheek.

It might have worked better if it took itself a little less seriously.

One of those films that seems like it was made mainly for film festivals - and it has the awards to show for it.

Sensitive performances from a willing cast bring Zola's novel to life on the big screen.

Uneven, immature and a little derivative — but entertaining performances from Olivia Cooke and Alec Baldwin keeps Pixie watchable.

The lamest of the three versions but the performances are bearable.

Big, bold and teeming with imagination, it is so busy world-building that it occasionally forgets to have fun. But with this heavy lifting done, there’s every reason to hope for an even more magical adventure next time.

A soft-spoken yet chilling domestic horror film that tells its slightly overfamiliar tale effectively, with strong performances, quietly disturbing atmosphere, one or two friendly clichés, and good, old- fashioned scares.

This time the banter is tighter and funnier, and Calvin’s musings on the importance of community seem more heartfelt.

Unasked for, unnecessary but unexpectedly enjoyable.

Despite following the same formula as its predecessor, Enola Holmes 2 keeps up the charm and humour with a crafty mystery filled with entertaining twists and turns.

The best Muppet movie for some time, adding film references a-plenty, dark, edgy comedy and even a touch of post-modernism to the usual all-singing, all-dancing ridiculousness.

Impressive visual invention by Nimoy and the reliability of his cast mean that Trek III does more good than harm to a franchise still competing with it's younger, more tehnologically advanced adversaries.

The Instigators isn’t exactly revolutionary, but is a good time regardless: an easygoing crime caper offering an excellent cast a fun sandpit in which to snipe at each other.