Astronaut doesn’t have the budget or cinematic ambition to deliver on its premise. Despite the best efforts of Richard Dreyfuss, it reaches for the stars and misses by a mile.

Well played and well shot, Run’s idea of relocating Springsteen’s America to a rain-swept Scottish fishing town is interesting, but sadly it runs out of gas and road before it hits the horizon. Less baby we were born to run, more baby we were born to drive around in circles for a bit.

Despite the odd strong moment, this Bloodshot is anaemic.

This big-spy-meets-little-kid comedy isn’t funny enough for teens, but not really suitable for younger viewers either.

And Then We Danced is a well-made love story, anchored by a mesmerizing Levan Gelbakhiani and enlivened by electrifying dance numbers.

A political football that arrives punctured and sputtering, this toothless class satire — an equal-opportunity offender — shouldn’t have pre-enraged anyone. It’s hardly the Hollywood takedown the MAGA crowd feared.

The revolutionary visuals find endless ways to honour the mind of an innovator – but simultaneously risk an overwhelm of aesthetic information, rather than a lucid insight into the anatomy of contemporary dance.

Not as good as The Full Monty or Brassed Off but better than Swimming With Men and Fisherman’s Friends, Military Wives is a familiar, entertaining hymn to the power of people coming together in adversity.

Unlikely to win over those who remember the lush vistas and Montalban-powered original, nor appeal much to teens looking for a horror-filled night at the movies, Fantasy Island is distinctly sub-par filmmaking full of clichés and lacking in real entertainment value. No one would call this their ultimate fantasy.

Despite an inherently cinematic story and some effective sequences, Escape From Pretoria struggles to transcend a clunky, one-dimensional script.

A celebratory portrait of author Toni Morrison painted by those who knew her, this compelling documentary also explores how her work gives such a powerful voice to the African American experience.

Unbearably tense and thematically rich, this feels like an entirely fresh take on a 123-year-old story.

It’s not as effective as Mandy or The Mist, both of which it evokes at points. But Color Out Of Space is still an audacious and admirably out-there attempt at cosmic horror.

A compelling, grubby outback Western revealing the ragged reality behind a folk hero. Terrific performances, incredible visuals, and a reassertion of Justin Kurzel as a bold filmmaker most comfortable dealing with discomfort.

A bizarrely strait-laced project for Todd Haynes, Dark Waters lacks dramatic oomph but compensates via a well-mounted telling of a terrifying story, driven by still contemporary concerns and a convincing central turn by Mark Ruffalo.

There are theme-park rides; there is cinema; there are sacred love poems to take with you for the rest of your life. Thank you for giving us the last one, Céline Sciamma.

Like a lot of remakes, Downhill doesn’t quite make the argument for its existence. But career-topping performances from Ferrell and Louis-Dreyfus and an unusually frosty comedic tone make this a mostly rewarding day on the slopes.

Pixar returns with a great big power-chord of a movie — heart-pumping, resonant, and positively harmonious.

Like Maximus, the hero who inspires the theme of its pivotal party, Greed will keep you entertained. But patchiness and occasional preachiness mar a clearly heartfelt message movie.

A sentimental but solid dependable retelling of an oft-told tale, it doesn’t do anything radical with the material but gets by on well mounted set-pieces and Ford’s grizzled gravitas.

By eschewing fast-paced suspense Hausner takes the sting out of her story, instead showcasing a bold aesthetic sense that feels like an exciting taste of what’s to come.

Haddish and Byrne play to their comedic strengths but Like A Boss falls foul of formulaic writing and a mistrust of the genre’s full potential. Stick to its groundbreaking peers for a taste of something sweeter.

Dull and often exploitative, Daniel Isn’t Real coasts on the familiar faces of its lead actors while wasting their potential.

Strongly performed by a fresh-faced cast, A Paris Education is familiar and doesn’t completely grip, but is an enjoyable celebration all the good things in life; films, arguing about films, friendship, love, politics and Paris.

It’s not quite as fresh or fun as the first film, but P.S. I Still Love You still has plenty to love about it – not least another loveable performance from Lana Condor.

Sweetening up a smidgen without chilling out, this is Miike having fun, bombarding us with squirm-inducing violence while making us laugh and — ever so slightly — tugging on the heartstrings.

It should be a delicious chocolate gateau but Emma. makes heavy weather of Austen’s charmer, delivering a tonally uneven, mostly airless affair. Amy Heckerling’s Clueless — Emma in the Valley — remains the big screen benchmark.

An on-form Jim Carrey can’t stop Sonic’s live-action debut from feeling like a missed opportunity. If the teased sequels do materialise, here’s hoping the storytelling levels up.