An intense, streamlined exercise in gruesome thrills, with a tiny glimmer of social context (it’s all about the economy) which doesn’t take away from the exciting struggle to get out of this house of horrors.

It’s an adequate retelling, mostly, but with moments of eye-rolling ineptitude.

Narratives of the Northern Irish Troubles are a nightmare of bias and bullshit – this superior doc does better than most in cutting through both, and offers a lot to experts and noobs alike.

An otherwise mundane rom-com that doesn’t know how to handle its one point-of-difference; and even that isn’t as much of a big deal as its writers think it is.

It’s an energetic survival thriller and terrific showcase for Lively’s chops, but iffy plotting and a sloppy climax detract from the terror.

Ricky Gervais very much plays the hits in an undercooked but occasionally funny big screen revival that suffers from a crippling case of de ja vu. Brent’s last goodbye? You’d hope so.

A lean, mean scare-machine, and a surprise contender for horror of the year. Seek it out. Then, for God’s sake, buy a bedside lamp.

The ending doesn’t quite land, but this timely right-wing allegory promises there’s much more to come from Corbet.

It still feels old-fashioned rather than timeless and even on its family entertainment terms, it just doesn’t quicken the pulse-rate.

It’s a beautifully animated tale (keep your eyes on the way Kubo’s hair moves) that balances story with comedy and moments of effective (if light) horror.

Ostensibly, a lovingly made study of homemade cooking and old-fashioned values, this beautifully played drama also contains a mordant denunciation of the lack of compassion that shapes Japanese attitudes to social stigma.

A strong cast can’t rescue the repetitively crude and recklessly derivative material. Mike and Dave need a lot more help than in merely finding wedding dates.

An intimate, if unanalytical, portrait of one of movies greatest talents, told in her own words and through an adroitly assembled use of fantastic home movie footage. It’s also probably your only chance to see a Hollywood icon win a sack race.

Like Avengers Assemble forced through a Deadpool mangle, Suicide Squad gives new life to DC’s big-screen universe. So bad-to-the-bone it’s good.

This is a gentler, less confrontational Solondz. It makes you laugh, but probably won’t leave you reeling after. Some fans of his might consider that a disappointment, others might find it a relief.

Strong performances and direction make the most of a lightweight tale.

Hawke is compelling, offering a magnetic portrayal of an exasperating but deeply charismatic, engaging figure.

Unflinching in its eschewal of objectivity, this provides a unique perspective on a notorious case, while correcting some of the impressions about urban black youth the media cravenly peddled in its aftermath.

Yes, Jason Bourne basically amounts to a trio of action set-pieces elegantly strung together. But who really cares when they’re this impressive?

All cast and crew do an impressive job in making this unlikely proposition such an engaging, thought-provoking and darkly funny watch.

A gruelling watch and a searing indictment of America's disregard for its indigenous peoples.

Even by the standards of animation, the logic fails here are impressive. But the bigger problem is the lack of charm, focus and original storytelling as the animals suddenly have to save the world instead of just surviving it.

Considering it’s the debut of one of TV’s hottest double-acts, Keanu is a slight disappointment. But there’s plenty of funny stuff, and George Michael fans in particular should have faith, faith, faith.

Hilarious in places, hideous in others, this struggles to make its philosophical case. But the performances are exceptional and the conceit could not be more daring or distinctive.

Precious Cargo is a film out of time. In the ’90s it would have been a serviceable DTV alternative when the Van Damme/Jeff Wincott flick was out at Blockbuster. These days it is a lacklustre anachronism. Bruce Willis should really know better.

A return to fun, and a return to form for the new version of the old Trek. The 13th Trek movie is also the second good odd-numbered instalment in a row. Lucky for some.

Giant expectations may lead to tiny disappointments in this two-hander that’s slow in parts. But it still offers magic and visual delights, and the final act is a treat.

The film works for the most part, and even though the laughs notably dry up as the CGI spectacular kicks into gear, its feelgood vibes will most likely have already won you over.