An interesting new take on a very well-known tale and a praiseworthy act of revisionism, but one which doesn’t ultimately deliver on its early promise.

The animals are cute and Gleeson is extremely game. What keeps Peter from Paddington-style delight is a self-conscious need to distance itself from its source material.

Drawing on mythology and body horror, Annihilation is an intelligent film that asks big questions and refuses to provide easy answers. Sci-fi at its best.

This spectacular adventure sometimes wanders across the borders of invention into artificiality, but finds its feet when it focuses in on its characters and their relationships.

A story with all the qualities of a classic LA noir is given a very effective spin by transposing it to politically charged Cairo. It’s angry, frustrated and thrilling.

A raw, lean and abrasively effective thriller from Steven Soderbergh, which features Claire Foy as we’ve never seen her before.

With an uncompromising attitude to complex plotting and graphic content, Red Sparrow is a promising beginning to a potential new spy franchise. Just be aware of its unexpectedly barbed edges.

Fans of Moon and Source Code be warned: Mute is sadly, almost tragically, not worth the wait.

If you’re playing Wes Anderson bingo, you can tick off ‘droll whimsy’, ‘visual pizzazz’ and ‘Bill Murray’. Yet, thanks to the Far East setting and a rollicking story, this is a fun and fresh-feeling experience.

With its clever, whip-smart script and enthusiastic ensemble cast firing on all cylinders, crime comedy filmmakers John Francis Daley and Jonathan Goldstein score big with Game Night.

Given it could be re-titled ‘Microaggressions: The Movie’, this is an unsurprisingly upsetting watch at times, but it’s made compelling by Vega’s dignified, heartfelt performance.

Limp jokes, bad chemistry and the least believable onscreen fraternal bond make for a very lacklustre viewing experience. Even a late appearance from Christopher Walken can't save the day.

Robbie and Janney are flawless in a compelling and corrective account of a misunderstood figure; one of the more darkly funny biopics you’ll ever see.

Almost certainly the second worst thing to happen to Bruce Lee, this toothless and tame movie doesn’t even come close to capturing the great man’s dangerous charisma.

Come for the near-endless rows that convincingly carry the venom of a collapsed, resentful marriage; stay for the extended critique of Russia’s contemporary spiritual vacancy.

Clint Eastwood’s bold choice to have real protagonists does little to enliven a listless story about friendship. Although the terrorist attack is effectively staged, The 15:17 To Paris fails to spin a remarkable film out of a remarkable act of heroism.

Take out the BDSM, and Fifty Shades Freed would play perfectly as afternoon thriller on Channel 5. An end to a damp squib of a trilogy which sees Johnson as the only one to emerge unscathed.

A coming-of-age story like no other, Lady Bird is smart, emotional, funny and completely original. Rarely has a directorial debut been so assured, so singular and so heartwarmingly affecting.

Describe it and this sounds completely weird and a bit creepy, like some extremely niche fetish porn with a budget. Watch it and it’s magical; fantastic in all senses. It’s the biggest risk of del Toro’s career and it could not have paid off more.

Like Taika Waititi before him, Ryan Coogler gives the Marvel template a bold auteurist twist with an African extravaganza that packs a muscular intensity and challenges as much as it exhilarates.

Slick and solid in moments, Den Of Thieves disappoints with its reliance on easy plotting and gruff, overcooked acting. One for Butler completists only.

Come for the near-endless rows that convincingly carry the venom of a collapsed, resentful marriage; stay for the extended critique of Russia’s contemporary spiritual vacancy.

The third Cloverfield film is just about a Cloverfield film, but definitely a disappointment, trading on its name but not living up to its already muddled heritage. Only intermittently fun.

Despite an intriguing premise, Winchester misses the mark. Its anti-gun message is a shot in the right direction, but lazy fright tactics and a contradictory ending leave it firing blanks.

A well-meaning look at the issue of arranged marriage, garnished with some Hollywood star power, but it’s too meandering and sluggish to grip.

Last Flag Flying is a thoughtful tally of the cost of war on ordinary lives that also manages to be a funny, moving men-on-a-road-trip movie. It’s that rare thing: a sequel, albeit 44 years late, that is worth catching up with.

An often amusing reimagining of Bronze Age history 
that, while it doesn’t quite match the best of Aardman, is still solid family entertainment.

Payne’s lm is full of invention, wit, great scenes and big — if not fully realised — intentions. Downsizing may be about a small world, but it is an audacious, out-sized peach of a picture.