The Darkest Minds boasts a decent cast and a fairly interesting premise centred on likeable characters. But its banality squashes any potential it had, resulting in a safe, forgettable sci-fi.

There are few filmmakers as consistently, burningly passionate as Spike Lee. This is vital and timely work that’s up there with his best, with a gut-wrenching sting in the tail.

Shark. Weak.

Smart and stupid in equal measure, this is a palate cleanser after the doom and gloom of Justice League. The Titans could make you fall back in love with the entire DC Universe.

Everyone’s trying hard, but they can’t quite live up to the particularly gentle, warm tone of Pooh himself. Unlike the bear of very little brain, this is a film pulled in different directions with entirely too many thoughts in its head.

A kind of Ken Loach does Shirley Valentine, The Escape is not a comfortable watch. But it is a rewarding one, thanks to Dominic Savage’s forensic investigation of a disintegrating marriage and career-best work by Gemma Arterton.

Setting and performances aside, Damascus Cover is a forgettable spy thriller that bulldozes over its real-life relevance in favour of shoehorned romance and hackneyed characters. Less Mission: Impossible; more ‘Mission: Thrown Out The Window’.

For all the flying fists and the hero’s nightmarish predicament, the notions of redemption examined here are plenty deep. Add that to the bone-crunchingly effective technique and flawless lead performance, and you have yourself something very rare: a testosterone-driven narrative that’s about nurturing, rather than destruction. And one that achieves a bleeding-knuckled profundity.

This hard-edged action thriller may not match the original, but Washington’s McCall is a compelling character, the kind you’d quite happily like to hang out with whether he’s busting heads or painting walls.

The first Mamma Mia! often felt like being trapped on a non-stop rowdy middle-aged all-singing all-dancing holiday (in a good way). Ten years on this second trip feels older and wiser, for better or worse, and despite the odd misstep you’ll still be dancing in the aisles come the end credits.

Uneven in places, Pin Cushion nonetheless offers a moving meditation on what it feels like to be different, elevated by great work from Joanna Scanlan and newcomer Lily Newmark.

Schrader’s best in yonks, a powerful meditation on faith’s place in the modern world. Hawke, as a kind of Travis Bickle in a dog collar, gives one of the performances of the year.

Impeccably performed by its young leads and nurturing supporting cast, this deeply personal picture particularly impresses in the closing scenes, which are quietly devastating in their intimacy, insight and truth.

The building may be taller than The Towering Inferno and the stakes may be higher than those faced by John McClane in Die Hard, but in comparison to both, Skyscraper is little more than a cinematic bungalow.

Stylishly realised against a backdrop of violence and faded Hollywood glamour, Drew Pearce’s vision of the near-future is laced with intrigue and dark humour.

A combination of thrilling stunts, insane daring and clever writing make this a stunning piece of action cinema. Just be sure to take your heart meds first, and hold on tight.

A disappointingly straightforward, romance-driven take on a fascinating story of creation, but one that’s lifted by a superb central performance by Elle Fanning.

The forgettable title and cookie-cutter concept may seem lazy, but Coogan and Rudd work their asses off to make Erasmus and Paul the most memorable screen gay men since The Birdcage. It’s caustic, authentic, and very, very funny.

Its heart is in the right place, but some lively performances from the better-than-you’d-expect ballers-turned-actors can only paper over a thin, cliché-riddled script so much.

A sobering, haunting but completely fresh look at Whitney’s life and death that will reframe everything you think you know about the singer.

With a sharper focus on race and plenty of real-life horrors to draw from, Gerard McMurray brings a fresh perspective to this splashily satirical prequel. If only its action was as punchy as its ideas.

A low gag rate, irritating unlikeable characters and mean-spirited moments sap the joy out of a sweet true story. Looking for a freewheeling feel-good summer comedy? Tag’s not ‘it’.

Some outrageous, if hardly original, twists eventually enliven a dreary plot. But even with Margot Robbie in full scheming-vixen mode, Terminal feels interminable.

While it proves an all-round well-mounted distraction, Ant-Man And The Wasp undeniably lacks the scale and ambition of recent Marvel entries.

Hardly likely to convince anyone that remakes are worthwhile, Overboard ekes out laughs but fails to add the romance to the comedy. We’d leave this one in the water.

Lawther’s a charismatic, uncompromising lead, and Billy’s campaign is an inspiring one, but this sometimes settles for broad strokes of heroism or villainy where more subtlety would have increased its impact.

In The Fade manages to be absorbing character study, courtroom nailbiter and vengeful woman flick, all the while taking the temperature of neo-Nazism in Germany. It’s flawed but powerful, mostly down to a revelatory performance from Diane Kruger.

An effective, micro-budget sci-fi horror, that makes up in confidence and competence for what it lacks in frills.