This is an Aquaman film that needs lots more Aquaman and vastly less bombast. It’s visually wild and recklessly inventive, but the cast deserve better than to be cast adrift in a tempest of CGI.

It rips a few too many pages from familiar playbooks, but when it indulges in its own weirdness this film casts off those heavy caterpillar tracks and soars.

One of von Trier’s most confrontingly horrible films is also one of his weakest. A story about a man disguising his lack of worthwhile contribution with violent self-interest is guilty of every point it’s making.

This is made with skill and thought, but this kind of character piece needs to wield a microscope, not peer down reversed binoculars: otherwise why bother? You will, however, find yourself Googling canal boat holidays.

An impassioned ode to both the toys and their era, this, at last, is the Transformers movie we’ve been waiting for.

Despite a strong cast, promising premise and a timely attempt to explore male neurosis, Swimming With Men is let down by slight characterisation, by-the-numbers plotting and heavy-handed jokes that desperately need arm bands.

An understated yet profound examination of identity and self-sacrifice, this honest depiction of repressed romance will unashamedly tug at every heart string.

A patchy follow-up to the searing ’71 from director Yann Demange, but one which tells a compelling true story and offers a treat of a supporting turn from Matthew McConaughey.

A delightful folk story from one of the best filmmakers working today — and a fitting final turn from Redford, all easy charm and grace. It takes a lifetime of effort to look this effortless.

No fence-sitting here, Sorry To Bother You wallops its targets. Drenched in self-awareness, it is fantastically refreshing, defiantly announcing Riley as a radical new voice.

For all his ambition, Serkis can’t find the right tone for Mowgli and it becomes a very confused beast, neither fun enough for all ages to enjoy nor complex enough to be the visceral, grown-up thriller he nudges at.

Bewildering in all the right ways, this is a poetic, sublime interpretation of a sorry story. An evocative, emotional experience, it pits humanity against inhumanity, resulting in something refreshingly new.

Fresh, funny and frequently bonkers, Into The Spider-Verse is an astonishing shot of cinematic superhero adrenaline. For such an over-familiar character, somehow, this feels original and entirely new.

The spirits of the old masters pervade this disquieting but deeply moving drama. But Kore-eda stands alone as the chronicler of family life in a country facing an identity crisis.

Pairing thrilling technical prowess with profound artistic vision, Alfonso Cuarón has made a masterpiece, at once understated and otherworldly. We need more filmmakers like him.

Like Guy Ritchie’s King Arthur, this tries hard to do something new and exciting with an old formula. It quickly makes you wish for something more traditional and straightforward.

Like a real-life stroppy teen, Assassination Nation is pissed off with something new every five minutes — but there’s style and sophistication here. The Trump era has its first dorm-room classic.

It’s as predictable as an Advent calendar, but thanks to Kurt Russell’s grizzly charms, The Christmas Chronicles at least gives us one of the movies’ best Santas yet.

Creed II is to Creed what the Rocky sequels are to the original: a more generic, less textured take on familiar boxing movie tropes. The difference, it seems, is Coogler.

A history lesson with more fire in the belly than most. It turns out that a feminist angle really can revive the same old Tudor psychodramas, thanks in large part to Ronan and Robbie’s authoritative performance.

With its predictable story unlikely to leave a lasting impression, it’s left to Chaplin and Tena’s natural chemistry and performances to make Carlos Marques-Marcet’s second feature-length film worth your while. Which they do. Just.

Entertaining, and occasionally inspired, but Ralph Breaks The Internet is too often content to achieve a quick laugh, rather than exploring the themes its set-up suggests.

Mat Whitecross draws compelling lines between Coldplay’s past and present in a documentary as colourful and optimistic as its namesake album. It’s one for the fans — even the ones too reluctant to admit that they are.

Despite its story-telling ambition being two sizes too small (much like its hairy protagonist’s heart), The Grinch is impossibly cute, visually rich and boasts enough festive fun to satisfy young viewers.

An emotionally rich documentary that wows both as a technical achievement and an unforgettable portrait of a terrible period of 20th century history.

This isn’t an atrocity on the level of, say, Rob Zombie’s Halloween — but it is a horror designed to test your patience rather than your nerves.

A dour, plodding experience that's cold in every sense.

An enjoyable foray into JK Rowling’s imagination, bolstered by a more appealing Eddie Redmayne, but you can’t help feel The Crimes Of Grindelwald is still treading water until future chapters.