Featuring funny and endearing moments amid beautifully choreographed action sequences, Shang-Chi excels as a story about family and how it can be twisted by grief. Simu Liu, Awkwafina, and Tony Leung bring multi-faceted characters to life and, despite pacing issues, it delivers a hugely entertaining step in the right direction for Asian representation.

Although let down by muddled plotting, The Night House is a low-key, well-made thoughtful horror flick, excellently played by Rebecca Hall.

Snake Eyes finally speaks, but with frustrating action scenes, a middling story and unearned sequel-baiting, there’s not much here that’s worth listening to, or watching.

It might have worked better if it took itself a little less seriously.

Though it doesn’t stray far beyond fan service, this is a comfortable extension of a beloved British show that delivers a reliable mix of quotable comedy and heart.

Quiet, unforced and delicate, Pig provides a forum for Nicolas Cage, one of our most dazzling showmen, to get serious and burrow more deeply into his talent than he has in years.

A psychedelic rabbit-hole-drop of a movie from one of the most exciting new directors working in horror today.

Wildland is an original, a compelling gangster film unusually driven by women and told in stark, measured strokes. A unique calling card for director Jeanette Nordahl.

I’m Your Man is science-fiction with soul and a romance written for adults. Just like its mechanical hero, this tender film is attractive, smart and cunningly designed to win your heart.

A new take on Peter Pan that actually works, delivering all the visual richness you’d hope for from the film-maker behind Beasts Of The Southern Wild.

An anti-Bond, the closest Cooke’s movie comes to an action sequence is when someone breaks into a mild run. But there’s real drama, and even thrills, to be found in this story of a very unlikely friendship that changed the course of history.

A perfectly serviceable biopic with good performances, which goes some way to explaining Franklin’s genius as a musician and a star, but one that isn’t nearly as transcendent as its subject deserves.

Two parts raw and real, one part manipulative, Coda finds engaging characters and real emotions in a hackneyed narrative arc. See it, though, for a terrific turn from Emilia Jones, if for no other reason than to say you were there at the beginning.

A handsome epistolary affair gives way to a more formulaic matchmaking story, in an alluring romance that loses its shine. Maybe some things are better left in the past.

Combining genuine emotional stakes, biting black humour and enough blood and dismembered limbs to satisfy even seasoned gorehounds, Chris Baugh’s terrific, unorthodox vampire flick has got it where it Counts.

Not quite ‘Ready Player One Star’, but this is an odd duck: a Black Mirror-ish concept played for laughs, which ends up getting tangled up in its own code.

Bravo stylishly delivers a dreamlike odyssey with slick, character-driven performances full of conviction, but that courage dissipates by the final act with nary enough steam to power a satisfying ending for its eponymous hero.

It’ll pass the time easily enough for young viewers, but everyone else will wish they were spirited away on a more sophisticated adventure.

More family-friendly than for-all-ages-friendly — but lively work from the thriving Sony Animation makes this energetic Lin-Manuel Miranda musical mostly worth your time.

This documentary has value as a damning account of the film-world’s treatment of a child actor, yet as a piece of art and a personal portrait, its vagueness creates unease.

When Gunn took on Guardians Of The Galaxy, he turned nonsense into gold for Marvel. By giving The Suicide Squad the same sense of mischief and an equally surreal streak, he’s done the same for DC.

The very best kind of fan service from Edgar Wright, who has produced a documentary of granular detail and depth that showcases Sparks in all their glorious, indefatigable absurdity, while leaving a clear mark of mystery.

A film as sweet as it is sad, as pertinent as it is absurd, Limbo is an experience where not much seems to happen but where little things mean the world.

Credit goes only to its two stars that this is watchable, because the film is a derivative hodge-podge unworthy of their charisma. Just rewatch The Mummy and cut out the middle man.

A Twilight Zone–worthy premise, subtly sold by ace make-up effects, makes for a decent-enough thriller, intriguing in the moment but ultimately too timid to say anything meaningful about ageing.

Riders Of Justice is an oddball delight. Taking a leaf from the Coens’ playbook, it’s by turns ultra-violent then drily funny and surprisingly wise. Come for Mikkelsen, stay for his winning band of lovable losers.

1666 mostly operates in a different register than 1994 and 1978, but is no less entertaining. It rounds off an ambitious triptych chock-full of horror-history allusions, strong world-building, sharp scares, palatable gore, lively filmmaking and a likeable set of characters. Other scary-movie franchises take note.

Slickly produced but seriously stupid, Tournament Of Champions won’t exactly have you running for the exits — but your brain cells might not escape the room intact.