It’s very conventional in form and dances round his famous temper, but Never Give In touches on topics (class, identity) rare in a sports documentary, etching a moving portrait of a man reflecting on his past at a point when his memory is slipping away from him.

Impressive scope, storytelling and sensitivity makes this a fine capture of Irish abortion rights history being made and the beautiful spirit of the campaigners who fought to push their country into the future.

It has its pleasures but after the nuance and emotional hits of Love Is Strange and Little Men, Frankie is a disappointment. Not even la Reine, Isabelle Huppert, can elevate this one.

First Cow is archetypal Kelly Reichardt, slow, small and perfectly formed, elevated by stellar but understated performances from John Magaro and Orion Lee.

What could have been a mere IP cash-in instead becomes an unexpectedly cinematic crime-and-couture romp, delivered with the sort of style, snarl and eccentricity that Cruella herself would likely applaud. She makes being bad look very good.

The Conjuring: The Devil Made Me Do It hits some major horror notes, with Wilson and Farmiga providing much needed heart and soul, but the new Satanic worship elements causes the franchise to take a farcical turn.

Course-correcting to some degree with the return of its most inspired director, Justin Lin’s latest F&F instalment is a little too plastic at times, but back on track.

A low-key treat about rising above the slings and arrows of outrageous fortune, The Dog Who Wouldn’t Be Quiet is something to shout about.

Like a shot of summer holiday straight to the arm, this will have you shimmying out of the cinema and hugging all your neighbours. It’s joyful.

Whisper it. A Quiet Place Part II might lack the smarts and novelty of its predecessor but it serves up strong set- pieces, Millicent Simmonds shines and Krasinski remains a director to watch.

It's no Paddington 2, but Peter Rabbit 2 works well thanks to a mocking sense of self and a strong second half. Once again, Beatrix Potter, it is not.

Billie Piper’s ambitious, darkly funny directorial debut suggests the arrival of a new filmmaker with a vision, verve and a voice.

Pretty cinematography and a committed performance from Amy Adams fail to save The Woman In The Window, a film that aims for Hitchcockian thrills and lands in afternoon TV territory.

Spiral makes an admirable stab at defibrillating an old franchise — but ultimately wastes its stars, caught in the same bear-trap of a formula that befell earlier sequels.

A modest, taut nailbiter. It lets itself down in the final third, but for the most part Oxygen leaves you gasping for air. And Mélanie Laurent, in practically every frame, is terrific.

A lean and mean throwback of a thriller bolstered by excellent performances and first-class filmmaking. Occasionally bites off more than its CG budget can chew, but when director Taylor Sheridan keeps the action grounded, it’s sweaty palms central.

Army Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. When he aims for more emotional territory — like the rather trite guilt-to-redemption arc between Scott and his estranged daughter, played capably by Ella Purnell — we start to feel the weight of that running time.

Not quite a flawless victory, but a solid win all the same. Any future follow-ups would do well to give us an actual Mortal Kombat tournament to enjoy.

Apples is an offbeat treat that manages to embrace ironic distance and emotional weight through a prism of perfectly judged absurdism.

Truman & Tennessee: An Intimate Portrait’s staid approach doesn’t always cohere into a gripping yarn but it is detailed, boasts a real feel for the fiction and, in-between the two men’s rampant viciousness, emerges as undeniably poignant.

It’s not just that Wild Mountain Thyme is bogged down by overripe Irish trappings. It also fails to work on the most basic romcom level — wanting to see a couple get together. Sadly, not even a strong cast can rescue a pot of gold from the end of this rainbow.

Lacking the boldness of originality and substantial character development, The Artist’s Wife nonetheless showcases Olin’s best performance in years and a brittle brilliance from Dern.

The action is sharp and imaginative, and Jordan strongly establishes his action-flick credentials. But story-wise it’s all very familiar and more than a little dour.

It's a credit to Hákonarson's poised execution of his own bare-bones script that both worst- and best- case scenarios seem possible once Inga finds allies in the community.

Nomadland is a Springsteen song in movie form, a beautifully rendered tale of what it means to be disenfranchised in America. Life on the road has never been so tenderly captured, politically alive and profoundly moving.

Both a thrilling, giddy family adventure, and the solidification of a radical new visual language in feature animation.

Love And Monsters is a blast, an unassuming, immensely winning monster movie filled with great lo-fi creatures and a likeable cast. As a template for making a leaner, less bloated summer movie, Hollywood could do a lot worse.

Neil Marshall’s return to his homegrown horror wheelhouse doesn’t reach the heights of Dog Soldiers and The Descent. Instead, it’s a witch-hunt thriller that lacks the texture to be realistic and the no-holds-barred energy to be pulpy. Sean Pertwee has fun though.