As spectacular as you’d hope from a sequel to the 1996 planet-toaster, and as amusingly cheesy. You’ll enjoy yourself enough that you won’t even miss Will Smith.

Way ahead of its time, this is a balls-out satire on the disgraceful layers that can lurk just beneath the Avon surface. This is anti-Ferris Bueller and fiendishly funny.

A surreal, endlessly creepy exploration of love and desire, with a terrific turn from Tatiana Maslany, makes for an exciting and unpredictable departure in Osgood Perkins’ oeuvre.

Despite a few early narrative bumps, it’s hard to imagine what more you could want from a movie with this pairing. Marvel has found its mojo again.

A beautifully staged film with everything in its place, this is both an affectionate homage and a timely commentary, falling only slightly short of its own ambition. Classy pulp fiction.

It's an hilarious, touching reminder that, sometimes, ordinary folk have the world's most interesting lives.

It may be a little overwrought for some tastes, borderline camp at points, but if you're partial to a bit of Victorian romance with Hammer horror gloop and big, frilly night-gowns, GDT delivers an uncommon treat.

A big, silly, scrappy bundle of fun, packed with Cage-related Easter eggs and in-jokes, but also a whole lotta heart.

Gordon Green follows up a pair of execrable comedies with a wise and witty slow-motion road trip that catches the sun.

Mara and Blanchett make for an unforgettable couple in a beautiful film about longing, loss and the confusion and wonder of love.

Arguably the best teen comedy since Clueless, it's easy to give this one an A. Well, A-.

Yayyyy, monsters!

A number of decent performances and a gritty realistic view of London makes this little sci-fi spin-off still worth a look.

The inside track on one of sport’s biggest scandals, nimbly shot and sharply scripted, powered by an outstanding performance from Ben Foster and the quiet integrity of Chris O’Dowd.

Regardless of its dense intellectual and autobiographical content, however, Mirror can still be appreciated as an attempt to capture the human soul and to show that, for all our diverse individual experiences, we still have much in common on an emotional and spiritual level.

With this touching story about a boy learning to play chess, Zaillian cuts an impressive debut, brining out strong performances from his cast most notably the young Pomeranc who is genuinely moving a the chess genius, even when he's not talking we are able to know what he's thinking, a rarity amongst child actors.

Another quiet delight from Koreeda.

Intelligent and witty ensemble rom-com for the grunge generation.

Ultimately this is a film about feelings, moments and things not said. Like "Lost In Translation," it’s about what happens when people living in their own little worlds collide.

What makes this such an affecting picture is the contrast between the wonderfully aloof camels and the interdependence of the extended family, whose smiling resilience only hints at the harshness of an existence that has changed little in centuries.

The sequel we needed is both the film you expect, and the one you don’t. There’s blood, but also real guts and brain and heart — visceral cinema soaked in viscera.

Beautifully performed and tough as nails, Vinterberg's social drama could not be any more timely.

It will require no conspiring to make you fall for this one; Whedon and Shakespeare are a perfect match.

All the actresses (including Tilda Swinton as ex number four) give wonderful performances in the short screen time each of them is allowed.

A character-driven thriller with more twists than an off-the-map dirt road, awards-quality performances from the three leads, a rare sensitivity to the after-effects of horror and a sure directorial hand. Mickle and Damici officially segue from ‘promising’ to ‘delivering’.

Essentially “Men will literally do stand-up rather than go to therapy”, in cinematic form. An appealing tragicomedy-drama, told with veracity and heart by Cooper, Arnett and Dern.

Occasionally, like its characters, ragged around the edges, this nevertheless rings with all the emotion and power of the source and provides a new model for the movie musical.

This is a sexually frank and arrestingly tender perspective of a young man in freefall. It occasionally leans too far into the horrors of street prostitution, but it’s mostly an open-minded view of its shiftless main character.