A striking debut from a blistering talent. What it lacks in narrative oomph it makes up for in beautiful imagery, natural performances and a worldview all its own.

Only once dipping into huggy sentimentality, we are happily spared the run-of-the-mill best mates saga the premise threatens. Instead this is a deeper and wonderfully engrossing picture with characters easy to sympathise with

Gorgeous to look at — but this is simply not looney enough to stand alongside the Looney Tunes greats of old. Needs more anvils.

Marvel has solved their third-act problem and villain problem and then some. However prepared you feel, you are not ready for Thanos. But then, neither are our heroes.

The Canadian horror maestro scrapes away the surface of Hollywood to discover a magnificently Cronenbergian outbreak of tortured families, reprehensible behaviour and extreme violence.

Joseph Kosinski has done it again. F1 combines unparalleled access, pioneering filmmaking and moving redemption arcs to deliver an exhilarating cinematic experience. What will he attach a camera to next?

A giddy helping of artful violence delivered with a wink and a cheeky grin. Unsurprisingly, John Wick 2 is already in the works.

Like many sequels, Truth To Power is bigger but messier than its predecessor. While it doesn’t quite deliver the oomph of the original, it is still a timely, persuasive wake-up call.

A film for every age, whether you’re an awkward kid, former awkward kid or awkward kid-adjacent. Funny, real and uplifting. A film that reaffirms your belief in the human spirit.

A beautiful, subdued Daisy Ridley performance anchors a story that is underplayed to the point of almost non-existence. Still, if you’re tired of blockbuster bombast, this could be the antidote.

Eat well beforehand or you’ll be in tummy-rumbling, tongue-hanging-out agony as the merry band cook their way across America. Good fun and happy, filling fare.

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.

Dream Horse is predictable and manipulative to a fault but, sparked by Toni Collette, there is a strong sense of sincerity and commitment to the subject matter that helps it across the finishing line.

Flashes of bleak humour makes this wry portrait a compelling experience.

The father and son chemistry give this blackly-comic slice of social realism a dose of Ealing-lite wit.

Okay, so it does cloy in places, but there is truth in its fractures and its seals, a soft-shimmering landscape of real people.

This film encompasses everything that is both grating and great about the blockbuster. It gives scant regard to character depth or dialogue while still being a must-see hoopla of computer trickery that weakens the knees and raises the neck-hairs.

Sentimentality creeps in now and again, but Levinson's steady grasp of his city's unique atmosphere makes these moments genuinely moving rather than hokey.

Lea van Acken is outstanding but Dietrich Brüggemann’s severe gaze invites voyeurism, not empathy. A stony, stifling if fascinating film.

A worthy, exciting, emotional addition to the venerable monkey movie marathon. Apes will rise. Sequels are likely.

It’s not the first of its kind, but compelling performances allow this portrait of a romance a genuine sense of passion. Under Tom Cullen’s sensitive, empathetic direction, this deeply felt picture never loses sight of its people.

A strikingly odd and original debut that is admirable for taking the triple-threat of suicide, depression and addiction in its nonchalant stride, although the confusing presentation of separate timelines mutes the overall impact.

Not to everyone's taste, but an earnest and hearfelt tale nonetheless.

While this doesn't add up to much more than 'It's good to be rich and have friends', it's entertaining, with some choice performances and the laugh-out-loud quotient of a good sketch show.

Well-intentioned if sometimes lacking in subtlety, Enola Holmes offers a fine, spirited reminder that a traditional story can always be retold — although it might need more refined teachings on feminism next time.

A small, slight window into a mixed-up soul, this is more intriguing than engaging. Its restraint, though, is admirable, resulting in a mood-piece with an ongoing sense of unease.

Forman and screenwriter Michael Weller brought a sense of coherence to the original freewheeling structure and Twyla Tharp's choreography imparted an infectious dynamism. But, the profanity, nudity and disregard for the fourth wall that had made the stage show such a sensation were lost in the translation.

Director Johnny To's previous flicks are slicker affairs, but there's still plenty here to please the fans.