Baumbach’s drama of grown-up kids seeking emotional restitution sees Sandler and Stiller at their best. If it feels like familiar turf for the writer-director, the emotions here are rawer than ever.

Given the story is based on reality, it’s understandable why the makers of 6 Below didn’t want to throw in embellishments, but a bear attack really wouldn’t have gone amiss.

Two compelling leads and a mix of adventure and romance. It’s a pleasant experience, if not one that will linger long in the memory.

A familiar tale of a quirky childhood is delivered with little in the way of freshness or truth. Still, the performances by Larson, Harrelson and Watts rescue it.

Starts strong, finishes dull. The original Flatliners should have had a ‘Do Not Resuscitate’ order attached to it.

As bold as the original Blade Runner and even more beautiful (especially if you see it in IMAX). Visually immaculate, swirling with themes as heart-rending as they are mind-twisting, 2049 is, without doubt, a good year. And one of 2017’s best.

A witty and touching father-son tale. And at its centre: a startling debut from Will Tilston, whose compelling performance ensures its emotional moments land successfully.

Brutal in its depictions of violence, Brimstone is tough to watch at times, but never less than gripping, even as the clock creeps up to the 150-minute mark.

Friend Request keeps up the pace and throws in a few neat twists to keep the plot from stagnating.

As ultraviolent as the first film, and as ultrasmutty, The Golden Circle will leave the Kingsfans grinning, even if its characters have less growing to do this time around.

There's a hint of comforting, chocolate-box, Sunday-night TV here, but it's delivered via such quietly powerful performances and with such hope that it's hard to resist.

An uneven thriller that would have been better served aiming for a lighter tone.

Taylor Sheridan’s flair for creating heartland epics is undimmed, but it’s hard not to wonder what someone with more directing chops, and the will to hit the accelerator, would have done with it.

Though it could do with being weirder and wilder, this high-concept mash-up — what if crooks robbed a haunted bank? — features fine work from a brace of rising stars.

A sorta-sequel to Mrs Brown deals effectively with another of Queen Victoria’s unconventional friendships and reprises Judi Dench’s powerful and unparalleled portrayal.

Frenetic, kinetic action meets satisfyingly soapy drama. See it before everyone tries to copy the best bits.

A difficult film and one that's likely to offend in some ways. But as an elliptical, dream-logic infused visual poem, it certainly leaves a searing impression.

More successful as a coming-of-age movie than a horror, It still ranks among the better Stephen King adaptations — no small praise indeed.

Delivering knockout action and political punch, this blazing siren of a B movie imagines America at civil war with vicious force. Sequel, please.

A great cast is let down by a script that fails to provide a compelling mystery to solve. Never mind as a big-screen production, this would be disappointing as a BBC mini-series.

A story we’ve seen told a hundred times before feels fresh thanks to Danielle Macdonald’s brilliant performance, handling both the drama and the rapping in style.

It’s a film to see for the performances, which are faultless, but while it’s sometimes riveting this play has been awkwardly translated to screen.

The leads work hard and there’s an attempt to add fun via cheesy music and Salma Hayek, but hackneyed dynamics, half-baked action sequences and saying “m#th&rf$ck*r” does not a Shane Black make.

Coming off like a peculiar mash-up of The Host and Dr Strangelove, Shin Godzilla is weirdly paced but does add a new twist to the old formula.

Cruise is as compelling as ever with charm to spare, and this is a ceaselessly entertaining, sometimes tense romp. Although it doesn’t dig much below the surface.

Toy Story with a twist, this is better than it had any right to be. Hardcore horror buffs may laugh and scoff at the mechanics of some of the scares; the rest may never be able to walk past the window of a toy shop without crossing themselves.

A worthy — if chilly and difficult — addition to the sadly extensive filmography of American mass murder. The soundtrack from Canadian singer-songwriter Maica Armata adds some much-needed heart.

Like many sequels, Truth To Power is bigger but messier than its predecessor. While it doesn’t quite deliver the oomph of the original, it is still a timely, persuasive wake-up call.