A fast-paced and hectic kitchen thriller that, though it tries to spin a few too many plates, pulls you deep into a fascinating, detailed world most of us know little about.

An enjoyable World War II spy flick, Munich: The Edge Of War scores with strong performances and filmmaking craft, but is let down by a lack of dramatic heft. A Father’s Day watch in waiting.

The chases, fights and fun bits of spy craft are brightly and pacily shot, but the 'twists' are barely surprising. These women, and these characters, deserve more.

Too often The Electrical Life Of Louis Wain favours eccentricity over actual insight. But even when the tones jar, Cumberbatch’s vulnerable, layered performance always rings true.

There’s palpable dread throughout this stagey but nevertheless evocative whirlwind of dysfunction. It’s a gripping, appropriately stifling experience, and the feelings — the fear, the disappointment, the unhappiness — hit home.

Looser and funnier than his recent efforts, sharper and more formally assured than his earliest films, this is Paul Thomas Anderson operating at full capacity. A master at work.

Though a little messy and increasingly absurd in places, Titane is a brash body horror with intense central performances, certain to leave you wide-eyed and slack-jawed at such a risky cinematic endeavour.

Inevitably, there is a tacked-on quality here, yet Cousins’ flair for providing visual pleasure means that, like that first champagne cocktail of the night, The Next Generation bubbles with sparkling uplift.

Resurrections suffers from an identity crisis, going from being supremely fun and knowing to weirdly pedestrian. It’s a slippery mish-mash— entertaining in big bursts but ultimately a little hollow.

A monumentally successful Spider-instalment which pulls off a tricky and ambitious narrative trick with all the grace of a balcony-top backflip. At the risk of getting cheesy, it won't just make you cheer, it'll make you want to hug your friends, too.

Exceptional near-future production design and a strong dual performance from Mahershala Ali as a man and his clone fuel Benjamin Cleary’s impressive, thoughtful sci-fi debut.

What could have been little more than an acting showcase for a reliable ensemble fully sings: a sophisticated, seductive, slightly unwieldy and often very sad study of the instability and upsets of motherhood.

What The Tender Bar lacks in dramatic heft and originality, it makes up for in warmth, geniality and a clutch of great performances — chiefly Ben Affleck, who turns a stock uncle character into a memorable mentor.

Vaughn gets a lot of points for imagination, but then quite a lot taken away for not knowing when to stop. A blast at times, The King’s Man could have sacrificed a fair chunk of plot for a bit more comedy.

Perhaps the most ironic title of 2021, Hope isn’t filmmaking to set the pulses racing. Instead it’s a quiet, nuanced study of how a couple who have drifted apart deal with the direst of circumstances, perfectly played by Andrea Bræin Hovig and Stellan Skarsgård.

Guy Ritchie delivers a nice surprise: an LA neo-noir with high-voltage action and an ice-cube-cool Statham. If it gets a bit tangled up in its time-hopping reveals, it’s largely 
an enjoyable, rattlesnake-mean thriller.

A sort of kiddie creature-feature with a big red heart, Clifford offers solid family fare with moments of throwback charm. Not quite a 12/10 on the WeRateDogs scale, but still a good boy.

Centred by a committed, affecting performance by Noomi Rapace, Lamb gets over its longueurs and missteps with interesting ideas, filmmaking craft and a unique tone of voice. Also includes some of the best animal acting of the year.

Don’t Look Up takes the pulse of contemporary life and finds it crazy, scary and, most of all, funny. It doesn’t all land but enough does to make it a sharp, bold, star-studded treat.

The things Sorkin is criticised for — grand speeches, an earnest streak — are the things that make his work sing when the context is right. The drama of this legendary TV couple gives him plenty of material to do some of his best work.

Directors Harri Shanahan and Siân A. Williams have created a commanding, if one-sided, film that documents the importance of the Rebel Dykes sub-culture in detail for the first time — its importance for future generations of queer women will be vital.

Pirates isn’t able to fully flesh out the individual journeys of its charming cast. However, it’s a worthwhile trade-off for a good laugh.

If it falters early on, The Summit Of The Gods emerges an astonishing work of animation of both intimacy and incredible scale, stunningly well-crafted and smartly adapted.

Multi-hyphenate Justin Chon has crafted an impressive melodrama, rich in Louisiana atmosphere and with a timely message, but Blue Bayou is marred by its reliance on symbolism and sentiment.

This charmingly odd tribute to Sorrentino’s formative years is slighter than it possibly deserves to be, but when it’s this handsome, who cares? Will have you absolutely salivating for Italy.

This latest visit to Raccoon City captures the games’ spirit but fails to translate that to cinematic thrills.

A few storytelling decisions don’t ring true, but the winning performances and loving celebration of Black British culture help conjure up just enough holiday cheer to make this worth watching.

Phoenix, Hoffman and Norman, especially, amuse and move with their relatable performances in Mills’ sweet drama. It’s nicely visualised but can feel unnecessarily long in places.