In a bigger, busier and burlier Avatar, James Cameron once again displays his blockbuster mastery. Despite some repetitive moments, this is truly epic cinema, more than worth plugging into for three hours.

A strong directorial debut from Winslet with — as you’d expect — stellar performances from her cast. It might be the perfect antidote to other, overly saccharine Christmas films.

The plot is predictable and the look unmemorable, but Johansson has nevertheless crafted a pleasingly old-fashioned character piece with just enough bite to balance its emotion.

An odd, messy, misjudged shambles. You can’t fault the earnest tone or the plucky performances, but you can fault almost everything else.

Just the right recipe for a seasonal horror cocktail — gruesome kills, proper suspense, sly wit, likeable leads and a dose of just deserts for very, very bad boys and girls.

It huffs and puffs to entertain but Five Nights At Freddy’s 2 falls flat on most levels. Animatronic chickens wreaking havoc should be much more fun.

It’s a real pleasure to be whisked across the world by Baumbach, but perhaps this cinematic glass of Prosecco goes down rather too easily.

It may be a tad predictable, but Eternity skirts the trappings of its romcom tropes by elevating the love triangle to a riveting existential quandary.

Quentin Tarantino’s thrilling pastiche of Eastern and Western genre tropes returns to cinemas in the form of one massive magnum opus. It’s even better made whole.

Josh Safdie follows brother Benny’s The Smashing Machine with his own sports biopic, of sorts. This uncut gem dazzles, from its spotlit table-tennis contests to its dark portrait of American dreams.

An unashamed exploitation movie with teeth, this has all the dinosaur devilry and gung-ho soldiering you could want. There’s even a sweet Tyrannosaur love story in the mix.

Haunting, serenely composed and beautiful, this is an elegy for a life and a country that America used to be. 

Dreams and nightmares, innocence and experience, civilisation and nature… an elegiac horror/neo-noir debut that captures a snapshot of America’s lost soul. Director Joshua Erkman is one to watch.

It loses sight of its own heroes amid the hustle and bustle of its wildly entertaining environment, but Zootropolis is still a blast to visit for a couple of hours.

Dusted with magic — and more than a little malevolence — this is one of those films you want sink into on a cold winter’s night.

This is not the messiah. Nor is it a very naughty boy. There was an opportunity for a truly original spin on the so-called Greatest Story Ever Told here, but The Carpenter’s Son pulls its punches to make a rather rote horror that amounts to little.

Celebrating the triumphs of a brave female athlete, and boasting a strong central performance from a transformed Sydney Sweeney, Christy is a well-meaning but meandering feminist parable.

Gothic, iconoclastic, engrossing, slyly excoriating of modern-day America and very funny to boot, it’s another solidly satisfying whodunnit from Benny B. Keep them coming, please.

Dylan Southern’s film lacks the complexity of Max Porter’s book. But there are strong scenes, and Cumberbatch delivers a performance to crow about.

Finnish him! Gore-soaked and unbelievably bloody, this will make you wince, gasp and cheer for the little guy. Another authoritarian regime is in for a bad day, and that’s a lovely thing to watch.

Wicked: For Good, sure — but not quite Wicked: For Great.

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.

Well-paced, expertly performed, and an urgent call to stand up to fascism, Nuremberg is a powerful, sweeping story of the attempt to bring an unthinkable evil to justice.

It doesn’t hit the heights of Raw and Titane, but strong performances and the moving familial drama mean Julia Ducournau’s third feature is still an impactful watch.

Gurinder Chadha’s Dickens do-over is a typically original perspective on a canonical classic, if let down by its stretched production values and unlikable songs. But it aims only to be a crowd-pleaser, and may yet become one. 

Now You Three Me, as it should be called, offers ample 2010s nostalgia, but not quite enough brainless fun lands successfully. Put this rabbit back in the hat.

Edgar Wright’s biggest film yet feels like something out of both the future and the 1980s: a scathing satire that’s also a lot of fizzy blockbuster fun.

Lynne Ramsay’s raw and animalistic character study proves to be the perfect vehicle for Jennifer Lawrence. She’s never been better as a woman on the verge of a nervous breakdown.