Made on a budget that would just about cover Kong’s left bicep, Colossal is cool, smart filmmaking, with plot developments that will be talked about for a long time to come.

A maudlin adaptation hampered by low energy and lapses of logic, The Secret Scripture does a disservice to the book it is based on, and the Irish history it plunders.

Though stuck with stretches of guff and looking all too convincingly like video-era rubbish TV, Mindhorn delivers regular proper laughs and eventually wrings just enough drops of pathos to scrape by.

Although it flickers to life at times, King Arthur: Legend Of The Sword devolves into a jumbled affair, weighed down by confusing supernatural elements and a lazy reliance on visual effects.

The story is programmatic and the indie stylings feel tired but Handsome Devil is a winning, enjoyable call for individuality. And Nicholas Galitzine and Fionn O’Shea show promise for the future.

Innately sweet, due to the high number of fluffy animals, but it has the gloopy emotion and silly plotting of a Nicholas Sparks novel. Nicholas Barks, if you will.

Verdict Spies, terrorists, remote-controlled bombs… Unlocked’s components are all too familiar, and it doesn’t put nearly enough effort into making them feel fresh.

An upgrade from Prometheus, Alien: Covenant amps up the thrills but doesn't deliver a memorable crew member or the full-on onslaught of the series at its height.

A compelling story bolstered by engaging performances from Jessica Chastain and Daniel Brühl, let down by occasional awkward tonal shifts and clumsy plotting.

Sand Castle does a respectable job of depicting a wretched conflict that none of its participants wanted, but its reason for being feels a little built on sand.

Undeniably effective, in its own blunt way, this deserves credit for shining light on a crime that’s — unbelievably and controversially — still denied to this day.

This intelligently scripted and imposingly played costume noir revisits the conventions of Victorian melodrama to comment on modern attitudes to oppression, prejudice and morality.

Even when the pixels threaten to overwhelm, Gunn finds refuge in his main characters. There’s plenty to enjoy here.

This is a harsh, unsentimental science fiction film, though the performances suggest small surviving flames of empathy and yearning amid the tough, practical attitudes.

Scuppered by a lazy script that fails to effectively build tension, Unforgettable lives up to its name, but not for the right reasons.

Anchored by a superb Gemma Arterton, Their Finest is a funny, winning, beautifully acted ode to working women and cinema.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

More "Moonlight" than "Twilight," The Transfiguration is a defining vampire film of the mid-2010s. An acutely observed study of social/emotional deprivation, but also a gripping, disturbing horror movie. And, yes, it’s ‘realistic’.

This Cannes favourite regards Egypt’s recent political uprisings from a fascinating new angle. A minor masterpiece of claustrophobia and expertly managed tension.

Overcoming a shaky start, this low-budget rom-dram rewards patience, with a fine cast delivering strong work. Accept the invitation.

Thoughtful, emotional and often surprisingly funny, Terence Davies offers a rich if inconsistent portrait of a unique poet long deserving of a big-screen study.

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

Charmless and saddled with disastrous flashbacks, this doesn’t have the street smarts to play its strongest hand. There’s a great film in here struggling to get out, but the definitive London noir still remains unmade.

We’re all for true, inspirational stories of courage in defiance of evil. But sheesh, this World War II drama is at least as irritating as it is uplifting.

Despite the all-star trio and the rare joke that lands, Going In Style never hits its stride as a warm-hearted crime caper.

A microwave meal of a kid’s film, consisting of tired tropes and bland platitudes. This particular village should have stayed lost.

A little too derivative to truly stand out, but gorehounds will love it. Don’t a void.

Peck’s film may have been an Oscars bridesmaid but it turns Baldwin’s prescient words into a staggering achievement. It’s an exhilarating blast of focused fury.