Undeniably, The Post feels timely, but there’s a counter-argument to be made that, in our current era of “fake news” and easily swayed public opinion, it’s actually a dinosaur of a film—and not Jurassic Park. Thank God for the owners, it ultimately says, who sometimes do the right thing. That’s a perfectly fine idea, but our times could use something sharper.

David Scarpa’s nail-biter of a screenplay—based on John Pearson’s 1995 account Painfully Rich, adapted with a free dramatic license—amps up the tension with phoned-in demands and impulsive raids by knuckleheaded local police, yet it never loses the bitter, fascinating taste of imperious wealth.

The animation is beautifully old-fashioned.

A triumph of comic irreverence and dramatic purpose, Episode VIII dazzles like the sci-fi saga hasn't in decades.

The resulting account contains a quietly powerful political statement.

Solet has turned out a very slick product and handles some of the action with brio, particularly a chase-across-buses set piece. But with too little freshness for crime-drama devotees, too many furry corpses for animal lovers and a thoroughly predictable wrap-up, Bullet Head ultimately screws the pooch.

Destroyed yet defiant, Robbie walks the emotional tightrope of the most fabulously, tragically American film of the year.

One of the most absurdly earnest exercises in paranoia you'll ever have the good fortune to see.

It’s all very theatrically crafted, with sweeping cameras and intricate design, and feels just the right side of an art-world joke: knowing and amusing at points, serious enough, never just a gag. Call me boring, though, but it could have done with some footnotes.

Along the way, though, it is as infuriating as it is inventive, as it Just. Never. Stops. It is Quirkfest 2017. It is Paris Through the Looking Glass. But it’s certainly pure of vision, an ambitious accomplishment, and undeniably sweet.

The story itself is fascinating. And for any wannabe explorers out there, there’s joy to be found in hearing about how one woman fulfilled her wildest childhood dream.

The film has no easy answers, but it does strenuously challenge all sides of the argument. Which is exactly what you want from a great documentary.

The performances are thoughtful, and like a pinch of chilli, heat things up from time to time. But director Oren Moverman’s portrait of smug, toxic privilege misses its mark – and at the end of two long hours, this feels about as fresh as last night’s chips.

The story isn’t wildly original – think ‘Leon’ with throwing stars – and it’s overlong, but the action is unrelenting, thrillingly staged and occasionally even flat-out hilarious.

Dan Stevens turns in a vibrant comic performance as Charles Dickens in this drama about writerly inspiration that plays like a smarter Shakespeare in Love.

Like that giant metaphorical carousel looming over them, it’s a movie that’s spinning its wheels.

The world's worst film gets an affectionate making-of dramatization that's half as weird as the real thing.

The year’s most shocking transformation arrives in the form of Gary Oldman’s Winston Churchill, a creation for the ages.

At 134 minutes, the film may seem challengingly long, but the strength of its ensemble cast and unusually evolving narrative results in a satisfying watch that’s reminiscent of tucking in with an engrossing book.

A committed Denzel Washington is wasted in a legal drama that never gets around to making closing arguments.

The whole film pinballs between reverence and poop jokes in a way that feels far more blasphemous than anything Monty Python ever did, while a cloying R&B soundtrack further cheapens the tone. Unless you have tiny religious children, it’s probably best to avoid it.

Although the film takes place in a fantasy version of brownstone Brooklyn, it’s more cutting than the book, especially for the way it shuns the concept of a star vehicle and sharpens the material into a forum for several moments of guilt.

Being dead has never looked as fun as it does in Pixar’s latest adventure, bursting with skeletons, magical spells and Mexico’s annual Day of the Dead.

Justice League gets the band together but remembers to bring the banter along with the boom.

Mayhem is an energetic genre flick that looks stunning and moves at a ferocious pace...But contrived dialogue and a bewildering narrative tarnish this otherwise enjoyable pulp effort.

It’s hard to know if this clunky comedy is part of Mel Gibson’s redemption arc or some strange new form of karmic retribution.

It’s anchored by a dangerously glum performance by 21-year-old Ross Lynch, who becomes more interesting the more you watch him.

Thank You for Your Service is as necessary as top-flight journalism.