Spencer and McCarthy are the superheroes we deserve, but are capable of so much more than bowel-movement jokes in this tepid and formulaic buddy romp.

Smart special effects, atmospheric visuals and an impressive physical performance from Williams enhance this timely ghost story but the horror doesn’t hit as hard as the rages against misogyny.

A beautifully argued parable about the need to go where life takes you, Darius Marder’s debut thrives on the soul of Riz Ahmed and the bold creativity of sound designer Nicholas Becker. Together they make Sound Of Metal sing.

It’s taken a long time getting here from across the Pond, but some things are worth waiting for. A wonderful, witty and weird spin on an old favourite, which seems destined to become a classic itself.

H Is For Happiness has more on its mind than most kids’ flicks and delivers its ideas in an attractive, if familiar, package. And who can resist a film with a character called Douglas Benson From Another Dimension?

He Dreams Of Giants never grips like Lost In La Mancha but it is an entertaining look at Gilliam’s damned-fool idealistic crusade, and an interesting portrait of a filmmaker whose eyes are way bigger than his budget.

If it cleaves too close to convention and doesn’t land the ending, Concrete Cowboy is a striking debut, celebrating a long-overlooked tradition of Black cowboys via visually powerful filmmaking. And Caleb McLaughlin is superb.

It’s an audacious swing — but ultimately a miss from a pair of filmmakers who know exactly what they want to say, and haven’t yet mastered how best to say it.

Wasting big-name actors, The Mauritanian is simultaneously over-stuffed and under-powered, turning a horrifying real-life ordeal into something flat and formulaic. Only Tahar Rahim’s consummate portrayal of grace under duress stands out.

A profound, detail-perfect and soulful slice of American family life, with some of the year’s most sincere performances to date.

A complete, if slightly overlong, view of Tina Turner’s life and career, the film is a deeply felt portrait of audacious talent and reinvention. The results are incredibly poignant.

Tom & Jerry: The Movie joins Garfield , Yogi Bear and The Smurfs as misfiring attempts to combine popular ’toons with live action. Our kids deserve better. They deserve Tom & Jerry 1940-’58.

Godzilla Vs. Kong mostly delivers on its promise of a big monster fighting another big monster. It just depends whether you’re willing to sit through the toe-curlingly bad set-up that surrounds it.

Another tenderly executed triumph from Francis Lee, and a captivating, serrated starring performance from Kate Winslet. Ammonite is a fine feat in British filmmaking craft.

A disappointment. A premise with much promise has been turned into a bland retread through YA’s most familiar faults — despite some bold efforts from Holland, Ridley and Mikkelsen.

Snyder’s Justice League is an entertaining if overlong superhero flick in its own right. If this is the last DC film Snyder directs, it’s a satisfactory exit.

An inoffensive if unengaging family romp that somehow manages to make the ultimate day of fun feel like a drag.

If it’s missing the charm and Murphy’s magnetism from the first film, Coming 2 America delivers a broad, serviceable return to Zamunda.

Time will tell if it’s worthy of being talked about in the same breath as Easy A, Clueless, Booksmart and the like, but Amy Poehler’s teen comedy is smart, funny, likeable and winningly performed. Moxie by name, moxie by nature.

A respectful look at the rise of the world’s biggest musical sensation, from her own perspective and those closest to her. A treat for fans, but too conventional to fully do justice to the extraordinary phenomenon.

Andra Day is excellent as the jazz singer struggling to survive in a hostile world — but the film around her can’t decide exactly what story about Billie Holiday it wants to tell.

Disney delivers a vibrant action-fantasy epic with another heroine who feels legitimately revolutionary.

Wrong Turn has some decent booby-trap business but can’t find enough that is different to enliven the weary concept. But for the horror hardcore, keep watching once the credits roll.

It doesn’t completely work and lacks complexity, but Capone is scene-for-scene more interesting than many slicker films. Hardy’s swing-for-the-fences performance is a must-see.

Song Without A Name is a true original, at once rooted in a raw emotional reality but told with the striking beauty of a dream. Writer-director Melina León is definitely one to watch.

The Dissident explodes genres by combining them, equal parts political analysis, murder investigation, cyber thriller and paean to free speech. It also celebrates the life of late journalist Jamal Khashoggi, who tirelessly gave a voice to the voiceless. 

There’s much to chew on in Cherry, and not all of it works. But a never-better performance from Tom Holland, and some bold directorial choices, make it a mostly compelling watch.

A pitch-black, punchy satire on capitalism and care homes with lip-smacking performances from Rosamund Pike and Peter Dinklage.