Marvel has solved their third-act problem and villain problem and then some. However prepared you feel, you are not ready for Thanos. But then, neither are our heroes.

Not many teen romances use high-concept fantasy to probe the nature of self. But despite its fascinating conceit – and strong opening scenes – Every Day is undone by blandness.

With its moody heroine, sex and reliance on talk it would be easy/stupid to dismiss Let The Sunshine In as oh so French, but Claire Denis’ most conventionally entertaining film is a delight. And it’s yet another reminder Juliette Binoche is an international treasure who should be cherished.

A strong debut from director Michael Pearce, with a gripping performance by newcomer Jessie Buckley. So much more than just another serial-killer movie.

A well told, beautifully acted drama that offers nothing new but a comforting level of familiarity and cosiness.

I Feel Pretty is an intermittently funny vehicle for Schumer’s talent that never really gets to grips with the ramifications of its high concept. Its heart is in the right place, but its head is somewhere else.

Knowingly blending realist grit with generic guile, this unrelentingly tense account of a fragmented family living in constant fear thoroughly merited the Best Director prize at the Venice Film Festival.

The truth is, it’s not very good – and entirely without scares. But we dare you to watch it without unleashing a few unintended laughs along the way.

Ridiculous, of course, but not as ridiculous as it might have been. As much fun as it has with the idea of animals stomping cities to rubble, it seems shy of going completely over the top, and it’s the poorer for it.

A boxing drama with a difference, Journeyman packs a powerful punch — and reminds us not to take Paddy Considine for granted.

Haynes’ film has lovely performances from both actors, and a keen sense of time and place help, but the story is a little too shaggy and unformed to entirely hold the attention.

Dark fun, with performances to savour and a set of references too seldom made in today’s pictures, this is a treat. It may peter out at the end, but what a calling card for Cory Finley, and this could be the last outing for its leads before superstardom beckons.

The high school teen romcom is reborn for 2018. Funny, sentimental and smart: John Hughes would be proud.

Sadly, Donald Trump hasn’t quite found his Leni Riefenstahl: this is a film too embarrassed to be what it is. And shorn of capes and costumes, vigilantism is pretty ugly. Though Roth’s gift for the gruesome gives it a small voyeuristic appeal.

Not quite a terrifying thrill-ride, Ghost Stories is a creepy, disturbing ghost train with a beefier backbone than its source material, trading on tropes but still making your skin itch.

It’s far from the perfect storm, but The Hurricane Heist is stupid fun with a belter of a final sequence. Like the sound of a film called ‘The Hurricane Heist’? Then you’ll probably enjoy The Hurricane Heist.

It delivers in fits and starts but mostly baffles.

Mark Felt is a lacklustre staging of a fascinating episode in recent US history. Despite Neeson’s strong presence, this is a deep throat that never finds its voice.

As both teen comedy and mid-life crisis comedy it’s terrific. It feels honest and modern in a genre that so very often uses dick jokes and gross-outs to cover old-fashioned morals.

An engaging, visually striking attempt to uncover the ‘real’ Grace Jones which is only partially successful in those terms. Nonetheless, it’s still a fitting tribute to a music icon.

These Mark 6 Jaegers with their electric whips, “gravity slings” and plasma swords deliver all the giant robot thrills you could wish. Thanks to Boyega and Spaeny, you might even care about the human characters, too.

Spielberg has seemingly done the impossible: balancing sugar-rush nostalgia with an involving story to create a pure, uncynical, cinematic ride that recaptures the magic of his early films.

Pondering everything from free expression and sexual harassment to bourgeois guilt and migrant rage, this superbly acted saga may not always hit the target. But it unerringly leaves its mark.

A bravura monster movie which just doesn’t let up, ratcheting tension with nary a word uttered on screen. It also boasts great creature design and a breakthrough performance from young Millicent Simmonds.

It’s a different kind of Tomb Raider, certainly. But for an adventure film, it’s disconcertingly dull.

A life story packed with incident means that this sometimes rushes past events that would be formative for anyone else, but equally means that Lamarr’s life story is never, ever dull.

Dark, disturbing and difficult, this is a deep dive into a troubled headspace and never lets you leave. Ramsay is now four for four, one of our most exciting filmmakers. If she could not leave it so long next time, that’s just fine with us.

Sweet Country is epic and personal, daring to tell a simple story in a challenging, arresting way. It’s a demanding two hours but leavened by great performances, especially from newcomer Hamilton Morris.