Despite strong performances from Cookson and Dench, this potentially exciting espionage tale is dreary and forgettable.

Despite a familiar, somewhat tedious set-up, Greta truly comes into its own in the final act, a ’90s thriller throwback elevated by Isabelle Huppert tearing up the scenery and dancing all over it.

The Man Who Killed Hitler And Then The Bigfoot is a strange but enjoyable mishmash of genres and ideas held together by the gravitas and class of Sam Elliott.

Either choose to dwell on Little’s formulaic storyline, or be charmed by the confident comedic performances of its three stars. One will lead to an infinitely more fun time at the movies.

Plenty of shock and gore, and David Harbour is more than worthy to wear the horns. But this is a reboot in need of a reboot.

Jessie Buckley impresses again in the story of a woman who wants and needs so much more. A seemingly well-worn narrative becomes a more interesting look at the responsibilities and rights of being a mother with a dream.

Mid90s is funny, observant and true. If the Wu Tang Clan and Ren & Stimpy references don’t resonate, the portrait of finding your people and them schooling you in the world will. Swear-y and lovely in equal measures.

Happy As Lazzaro is s-l-o-w and its narrative twist will alienate some. But this is deliberate, singular filmmaking, at once poetic and down-to-earth, from an unsung talent. Let’s be clear: Alice Rohrwacher should cherished.

Wonder Park has some fun bits (a narcoleptic bear) and a worthy sentiment around the value of going through tough times but it’s too hectic and untethered to land its loftier ideas. It aspires to be Inside Out but falls way short.

A decent, if inessential, take on one of Stephen King’s best novels. Sometimes original is better.

A charming family-friendly story about adventure and friendship — told with bar-raising artistic craft and technical skill. We’d expect nothing less from Laika.

An eccentric, funny yarn filled with eccentric, funny characters, Audiard’s oater deftly twists Western tropes, sending its charming, ramshackle heroes scurrying from one bizarre incident to the next.

An impressive sift through one of the UK’s weirdest pop-cult phenomena, even if it doesn’t manage to unpick the strange relationship between Sievey and Sidebottom.

An enchanting blend of Disney twinkle and Tim Burton’s dark whimsy that’s at its best when venturing off the beaten path. Come for the super-cute elephant, stay for Keaton and DeVito’s glorious reunion.

The hardest power to depict onscreen is the wisdom of Solomon, but Shazam! makes clever decisions, mixing middle school snark with disarming sweetness. And — yes — it delivers the requisite lightning-strike punch-’em-ups with considerable force.

Sprouse and Richardson are proven heavyweights in the young-adult pocket of Hollywood, but this soft-hearted teen romance spreads on sugary sentiment too thickly to leave a lasting message.

A stunning sophomore effort from Jordan Peele.

An interesting, challenging mess. The White Crow offers lots that’s impressive — Ivenko as Nureyev, the dance sequences, a knuckle-whitening last 20 minutes — but can’t render it in a dramatically engaging way.

Its skating sequences are impressive, but it’s the intimate examinations of fracturing friendships and emerging adulthood that make Minding The Gap surprisingly resonant.

The storytelling is a little loose, but as a workplace comedy with a side-line in romance, this earns its laughs thanks to the immensely game Henson and a stellar supporting cast.

Ben Is Back begins with nuance but is let down by its familiar Drugs Are Hell tropes. Still, the pairing of the ever-excellent Roberts and Hedges keep it a largely compelling watch.

Under The Silver Lake is gorgeous to look at and listen to, with moments of genuine panache, but its wilfully labyrinthine plot will have limited appeal.

Ray & Liz is undoubtedly a difficult watch, a searing portrait of a family that has come apart at the seams. But, creating an astute sense of atmosphere and detail that come together to make meaning, Richard Billingham marks himself out as a filmmaker to watch.

Small-scale and slow, The Kindergarten Teacher works best as a showcase for the brilliance of Maggie Gyllenhaal. Adding another complex character to her resume, it’s another reminder she is among the best actors working today.

Instructive, insightful and inspiring, Maiden is a rousingly riveting record of a remarkable accomplishment that says as much about British bloody-mindedness as it does about feminist fortitude and underdog pluck.

Triple Frontier is engaging in parts with well-mounted action. But the characters lack definition and you can’t help but think an old timer like Howard Hawks or Sam Fuller might have done it better in half the time.

As a Nick Fury buddy comedy, it’s fun. As a feminist fable it’s essential. This takes a while to really get going, but when Carol Danvers takes off she is unstoppable.

Telling an age-old story in a singularly original way, Border is a compelling, sometimes excruciating fairy tale for our times — with a bizarre sex scene to rival Team America’s.