Thrillingly paced, ravishingly shot and eerily topical, Sicario 2 retains much of its predecessor’s dark charm despite its shuffled creative personnel. But a jarringly Hollywood ending dulls its overall impact.

Zosia Mamet is the major selling point here. In a film that’s lovely but unlikely to prove memorable, she shows she can carry a film with immense charm.

A solid if, given its subject, oddly workmanlike documentary, this makes a very good case both that the fashion world had a genius on its hands, and that they didn’t have a clue what to do with him.

A sequel nobody needed, and very few demanded, but one that is nice to have anyway. Very daft and very childish and mostly very funny.

Even if his prosthetics make him look a bit like James May, Everett is near-flawless, and his film is a superb showcase for an actor whose celebrity has at times overshadowed his talent. There’s been plenty of due diligence in terms of the details, and anyone who thinks Wilde was just the Stephen Fry of his day will learn a lot here.

There’s some quibbles to be had in an over-familiar setup, and an under-served villain, but overall this is a gloriously fun family parable, and as entertaining as any superhero movie you’ll see this year.

A raw horror masterpiece from a first-time director that deserves to be mentioned in the same frantic breath as the genre’s greats. Even the most jaded viewer should find something in Hereditary to disturb and distress them.

Plot-wise Ocean’s 8 cleaves closely to the tenets of Heist Movie Lore but does little to enliven or tweak the formula. It lacks the jazzy swagger of Soderbergh’s trio but delivers a fun, likeable romp built on the charm and charisma of its cast.

The fear factor is back. This is a Jurassic sequel that plays it both adrenaline-pumpingly huge and thrillingly small. A summer ride that will drive kids out of their minds, and maybe even give the parents nightmares.

An absolute treat of an interview with a man who has told other people’s stories wonderfully for decades and tells his own just as well.

A small, slight window into a mixed-up soul, this is more intriguing than engaging. Its restraint, though, is admirable, resulting in a mood-piece with an ongoing sense of unease.

This director's cut might smack of self-indulgence, but it also says much about love and loss and the language of an artform that flirts with realism while remaining an illusion.

Thrillingly capturing both time and place and fizzing with non-judgemental empathy and cinematic flair, this is a magnificent debut that catapults Laetitia Dosch into the front rank of French actresses.

Filmworker is an absorbing, important portrait of both a genius at work and the man behind the scenes who made the magic possible, whatever the cost to himself.

A rare animated film without a shred of sentimentality but bucket-loads of heart and soul. “Stories remain in our hearts all our lives,” Parvana’s father tells her. The Breadwinner is testament to that.

If you came for cute canines you’ll get them, but you’d get more entertainment from an hour of dog videos on YouTube.

A bright and breezy sideshow adventure makes up for its overly frantic pacing with a charismatic central turn from Alden Ehrenreich — strong enough to make us want to see even more of him in Solo mode.

Funnier, filthier, and damn entertaining, Deadpool 2 leaves no stone un-deconstructed: the naughty man-child of the X-Men universe who manages to beat them at their own game.

An energetic but erratic film that straddles about a dozen genres at once, none of them that successfully. One for those who like oodles of odd.

More potent as a cautionary tale than future noir, Anon’s digital dystopia certainly gets a Like, even if it doesn’t quite warrant a Share.

Union is committed and convincing, but the script apparently never met a cliche it didn't want to adopt wholesale. This offers some thrills and considerable pace, but never enough narrative force.

Suspenseful and thought-provoking, The Cured is a serious, engaged horror movie. More upsetting than scary, it ratchets up the tension unsettlingly. There’s life in zombies yet.

An opulent, well crafted and acted tale of emotional repression that captures the head more than the heart.

A Mex-set spaghetti Western featuring toilet humour, organ transplants and the closest Mel Gibson’s come to playing Martin Riggs since the last Lethal Weapon.

Even if you think you know where it’s going as its builds to a near-wordless finale (and you might be right), the moments of character detail are beautifully judged, and the gore surprisingly well splashed.

Detached, but never dispassionate, this may not be Andrew Haigh's best film. But its slow-burning authenticity suggests a versatility to go with his acuity for credible characters in recognisable situations.

With its infuriatingly dim-witted characters and generic slasher movie feel, The Strangers: Prey At Night is a surprisingly tame and forgettable rehash. While its superior predecessor managed to boast chills, this only boasts clichés.

Necessary, deft and ultimately shocking. This is a beautifully hewn, brave piece of filmmaking that asks difficult, searching questions that will haunt you long after the credits roll.