While Ryan Reynolds still seems to be having fun playing the cheeky mercenary, both the inside-baseball comedy and the cartoonishly bloody mayhem wear out their welcomes in the film’s final third.

Even if it starts better than it ends, Wolf Man merits a look, not only for the craft on display but also for the powerful performances from Abbott and Garner, not to mention Jaeger and Firth in smaller roles. A cast this strong deserves a script with more to tear into.

Harrison Ford's fond farewell to maverick tomb raider Indiana Jones balances formulaic blockbuster elements with soulful nostalgia and an audacious time-jumping plot.

Indian director Sreemoyee Singh's moving documentary transcends its overly relaxed editing and sometimes dispersive focus.

It’s a meaty premise, one that its talented cast digs into heartily, and the film succeeds at generating tensely uncomfortable comedy for most of its running time.

As ever with Almodóvar, the healing balms of beauty, art, friendship, love and sex offer some consolation in the darkness, including a small but obligatory queer subplot.

As a piece of investigative journalism it feels a little too fuzzy, but as an imaginative exercise in non-fiction cinema, it is consistently interesting and often hauntingly beautiful.

The film ultimately exists as a delivery device for Clooney and Pitt to engage in prickly banter and deadpan wisecracking. Any ideas deeper than that are rejected like an unsuitable liver.

Even if the screenplay stretches credulity at times, Blanc’s brisk, bouncy, twisty narrative should keep most viewers gripped.

Guadagnino has remixed an imperfect, incomplete book into an imperfect, incomplete film.

While the adventure is suitably wild and the sidekicks are at least visually appealing, Elio never quite clicks in the way that viewers have come to expect from the people behind Toy Story 3 and Finding Nemo.

Jeremy Strong’s vicious portrayal of Roy Cohn will long be remembered alongside the finest of Hollywood’s eccentric baddies.

An overlong runtime, underwritten characters and some uneasy tonal wobbles dampen the film’s punchy humour and propulsive energy.

The Shrouds feels a little unruly and unfocussed, with too many loose threads and undernourished side plots. Even so, this is still an absorbingly weird autumnal statement from one of the most consistently original screen voices of his generation, still probing away at some familiar psychosexual obsessions, this time under a gathering cloud of looming mortality.

You, Me & Tuscany has all the heft of a squash blossom, and it’s similarly tasty without being filling. But sometimes, you just want one anyway.

Civil War ultimately risks nothing and subsequently says nothing; it’s a thrilling war picture cosplaying as an examination of the zeitgeist.

He makes his way to the big screen with silliness (and a love of tennis balls) intact, but Dog Man deserves a frenetic pace to match its barrage of absurd jokes and plot twists.

Unfortunately, Scott has chosen not to fill every one of the 148 minutes of this sequel with wacky, quotable moments or with a strapping Paul Mescal taking on soldiers, sharks, or mad monkeys — rest assured, the Aftersun star does do all of those things — and when Gladiator II is being neither wild nor crazy, it’s all a little dull.

The pièce de résistance of unabashed culinary cinema, Tran Anh Hung’s The Pot au Feu serves up a French country idyll in romantic 19th century sauce for audiences whose tastes run to the fine wines and 12-course meals.

None of this would work without Johnson, whose gift for side-eye and deadpan line readings grounds what could be a very silly story into one with real human stakes (that do not, thankfully, involve the fate of the entire world).

Young Woman is a biopic with all sharp edges removed, the kind of non-threatening, inspirational Disney movie that teachers screen for fidgety students on the last day of fourth grade.

There are decades of unresolved tensions simmering away between mother and daughter in Keeping Mum, which make this Karlovy Vary world premiere almost uncomfortably voyeuristic and a little too self-indulgent in places.

For sheer horror pleasure and monster-movie squirms, this silly monkey movie delivers the goods.

There’s a lot more sex in this Wuthering Heights, but the characters are flatter, the story is duller, and by the film’s climax, any dramatic momentum has been swept away by the winds on the moors.

Low on laughs and with a thin plot, Christophe Honore's Marcello Mio is a quirky tribute to one of European cinema's most famous filial relationships.

Night Swim mostly delivers, veering from straightforward shocks to campy excess without ever hitting bottom.

This remake doesn’t desecrate the memory of that modern classic, but neither does it ever transcend it.

The Theory of Everything works best as a kind of surrealist carrousel of film influences and physics references and as such, it’s mostly enjoyable.