Hyena may be grim, but it’s also grimly engrossing in a way that gets under the skin.

While there’s little here to jangle the nerves, The Mummy does wrap up enough adventure, action and quips to make it, if not a scream, a worthwhile Friday night out.

Kingsley essays both authenticity and humour, but it’s often hard to know what’s steering the story.

If Eric Rohmer were British, this is the kind of film he’d make.

Just as bloody yet much more conventional, 300 #2 offers splashy thrills aplenty but fails to make a watertight case for its own existence. Green, however, ensures it stays afloat.

Following preparations for the Met’s 2015 exhibition ‘China: Through the Looking Glass’, this modest doc asks: can fashion be art? The answer is ambivalent.

Fast, fierce, fuzzy: nicely unruly, naggingly undisciplined, Johnson’s live-action DC bow strains to entertain but struggles to breathe amid the noise.

There’s a lack of genuine emotional heft, not helped by some clunky dialogue (lines like "we are literally living on borrowed time"). But what the film really misses, amid several ear-splitting, CG-heavy alien-attack set-pieces, is humour.

2 Days is a sparky, crowd-cheering gem buoyed by Julie Delpy's smart writing and Adam Goldberg's tart whining. Less swoony than Linklater's "Before Sunrise/Sunset," but Delpy nails the relationship humour.

Despite some missteps, SEGA’s videogame mascot proves his previous movie was no flash in the pan.

Eddie Redmayne shines as a transgender trailblazer. But a stiff love story and stately staging make this Danish too sweet…

Hanks takes to Walt like a pair of cosy slippers, but it’s Thompson who adds layers to a classy but predictable slice of Disney schmaltz.

Despite top-notch visuals and versatile voice-work from Ty Burrell’s (Modern Family) doting doggy dad and Alison Janney’s monstrous social worker, it lacks the "Up"-style warmth to be best in show.

Though we'd love to see how Aardman handle Defoe's followup, An Adventure With Communists, this amiable but overstretched diversion is unlikely to spawn a Caribbean franchise.

Brown and the beast strike sparks as Fresnadillo’s initially lukewarm adventure gradually heats up.

It might sound like a lazy idea for an iPhone game but a few fresh jokes and lashings of creative gore help it stand out from the shuffling crowd.

The results – achieved through small cameras clipped to nets, masts and the crew – will hook some and induce seasickness in others.

Outrageous, outlandish and overboard, The Dictator will satisfy Cohen's army of fans. But it never feels as funny, full-on or fresh as "Borat" and "Brüno."

Given the short from whence it came ran a mere 12 minutes, there is a definite sense of material being extended beyond its elasticity. Yet it’s a decent vehicle for Ridley that, like last year’s The Marsh King’s Daughter, shows she doesn’t need a galaxy far, far away to demonstrate her star (Wars) power.

Tom Hanks gives a fine leading performance as Captain Kidd, yet the plot falls into problematic stereotypes at times.

Though awkwardly assembled, with an overemphatic voiceover, it’s chilling stuff.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.

The deaths are exuberantly grisly and explosive, too, the sound mix relishing every gooey squelch. Yet as predictable twists and an underused final cameo arrive, all the blood isn’t enough to cover up the nagging shortfalls of final-act invention.

With recriminations turning to compassion, the film sings when these French titans share the screen, Deneuve’s loose cannon a mixture of hedonism and terror. If only the other scenes were as compelling.

For those looking for an easy-on-the-eye, brain-in-neutral-thriller, Wolfs still hits the spot.

A satire of capitalist can-do thinking lurks in The Wrestler/Turbo writer Robert D. Siegel’s script, yet Hancock (Saving Mr. Banks) lacks the stomach to do full justice to its vision of the American dream plummeting into a nightmare.

A grindhouse mix of "Wild Things," "Killer Joe" and "Streetcar Named Desire," The Paperboy won’t be for all. But it boasts a soupy atmosphere and Kidman’s best turn for years.

OK, so enough time is spent on the fairways to put some viewers off, but Tommy’s Honour scores a hole in one with its unpacking of the class wars at play.

One of the more solid ’70s horror remakes, but it lacks the verve and potency, romance and heartache of the original. Still, the haircuts are a vast improvement...

Quillévéré’s elliptical plot isn’t always spot-on, skipping years to a near maddening degree. But treading a fine line between poetry and realism, it’s still heartfelt and harrowing.

Filmmaker Azazel Jacobs follows up the highly mannered (and highly strung) French Exit (2020) with a slow-burn study of sibling rivalry, parental mortality and the ties that bind.

It’s too brief to convey the intellect and almost mystical ability that underpin Carlsen’s success.

This ultimately feels like a story that didn’t need remaking, with performances that would have tickled in a one-night view on Broadway. It’s Friedkin’s swan song, yes, but is it representative of his output? Probably not.

Though ambitious and visually stunning (gorgeous cracked deserts, beautiful beaches, houses filled with sand), it’s willfully elusive and unwieldy to the point of frustrating.

Director Erik Poppe’s worthy intentions are nearly undone by an undisciplined screenplay. Still, he marshals two strong performances.

A fun romp with a great comic performance from Oyelowo. Doesn’t linger, but you’ll enjoy it while it lasts.

Scrupulous but ponderous, this documentary account of avant-garde Spanish über-restaurant El Bulli's annual stint creating ker-aazy new recipes piques your interest but not your taste buds.

Ronan is the monarch of the lens in this feisty, feminist royal biopic, which favours queenly clashes over battlefield action.

All prologue and no pay-off, but compelling all the same, this curio plays out like Diary Of The Dead with more diaries and fewer dead.

Shipp Jr. thrills, but a busy script blurs too many nuances.

Sometimes bad, never boring and, at the last, completely bonkers, it’s proof at least that you can freeze cheese.

In a film with obvious ambition, though, it’s a shame that it resorts to formula so quickly.

An only moderately entertaining threequel that assumes a double dose of Carell will make up for missing Minions. It doesn’t.

Aside from the usual self-slamming doors and flying bodies, there are enough creepy kids and hiding knives to distract from a plot that's increasingly mobile yet running on the spot.

Though the action and characters are sketchily served, Brown’s match-dry lead, Bradbeer’s brisk direction, and fine support casting make a persuasive case for Enola’s return.

While director Ceyda Torun lets the focus meander too much, it’ll leave you, ahem, feline good.

Sweet, self-aware and silly, the new Vacation doesn’t destroy memories or alienate newcomers – but neither does it break the mould.

Polished but pedestrian, Hillbilly Elegy is a boilerplate underdog tale that lacks bite – but gives good Glenn Close.

Some overripe dialogue and a well-worn plot are tempered by an admirable reluctance to humanise the terrorist.

Too solemn to keep us invested in its heroes’ mission or fate.

As in director Alexandre Aja’s Horns, the action alternates reality/fantasy to middling effect.

Fast, furious and based on fact, this pleasingly lateral adaptation embellishes a console-jockey favourite with familiar sports-movie archetypes.

Despite winning work from the lead, it’s a tame, feelgood effort from writer-director Hannes Holm. Academy bait.

Director Laura Poitras (Citizenfour) charts her own feelings towards her subject, yet unanswered questions abound surrounding WikiLeaks’ alleged connections to Donald Trump’s campaign.

A slick, dance-crammed London excursion that loses some magic when it focuses on romance.

With his trademark subversive playfulness and delight in human foibles, Ozon weaves together comedy, suspense and occasional intimations of darker emotional themes, aided by subtly gauged performances from his two principals.

Like its title character, Chappie is stunning to behold and easy to like, but it’s still some way from fully developed.

Sharper, meaner, and meatier than Prometheus, Covenant's weak narrative drive stalls its brutal good intentions.

A much-admired text is respectfully brought to the screen in a film that nonetheless struggles under the burden of its war movie clichés.

An enjoyable, if boilerplate, boo-flick that maintains an enviable rate of scares per minute by throwing everything – demons, ghosts, snakes, loud noises – at the screen.

Amini’s film offers elegant pleasures and holds the interest – but it never grips as it should.

The tender, tragic vibe Williams tries for via our hero’s forbidden affair with aristo soprano Marie-Josephine (a brittle Samara Weaving) feels too speedily set up to be truly effective.

Misses the energy and vitality of Gregg Araki’s best work, but there’s more going on here than immediately meets the eye.

It’s not as epic as "March Of The Penguins," or as stunning as the BBC’s usual slo-mo nature porn – but with nary an animated tap dance in sight, it’s still king of the 3D penguins.

Anders Danielsen Lie gives a compelling, deep-etched lead turn, and you'll find yourself drawn in as he searches for a reason to continue living.

Early promise proves misleading in a sequel that should be far better than The Da Vinci Code than it actually is.

Unlike the stock teenagers of Ouija, the Zander family are likeable and convincing. Scares are still rudimentary, but rooted in a sharper script.

The 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

It’s a delight to watch Amy Adams do Jekyll and Hyde as she incrementally transforms from cheery Giselle to noxious stepmother, while Maya Rudolph is a whole heap of fun as the ultimate control-freak soccer mom who - of course - becomes queen when Monroeville turns into “one big fantasia”.

A challenging watch, steeped in numbing horror.

It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.

The fast and furious action is a bit plasticky, but the two starry leads bring some real sparks.

It’s just a pity that the storytelling sprawls all over the place, with some plotlines (like the Beetlejuice/Delores discord) failing to pay off. But mostly Beetlejuice Beetlejuice is a fun afterlife frolic.

Filmed in garish colours like an explosion in a paint factory, it’s more style than content, but diverting all the same.

Smartly spoofy rather than sweetly nostalgic, this distractingly star-studded jaunt is fast and funny, but short on emotional punch.

[An] engaging if straightforward doc.

At least until its Turning Red-ish plot becomes subsumed by a tiresome showdown finale, there’s a lot to take pleasure from here - not least the invertebrate protagonists’ amusing elasticity, which recalls the madcap fun of Tex Avery’s cartoon classics.

Saluting both America's national pastime and its oldest working icon, Curve is a solid heart-tugger that plays with a straight bat when it comes to plot, character and message.

As cozy as a mug of Horlicks inside an electric blanket, Hoffman's film couldn't offend if it tried. Age, however, has yet to wither its veterans' undimmed star appeal.

While the marriage of fluffy comedy and terminal illness was always going to be an uncomfortable one, this is an understated, genuinely poignant weepie bolstered by a top-drawer cast.

More "oooh… aaah" than "ho-ho-ho", ROTG is so full of yuletide razzmatazz that only true Scrooges will have trouble stomaching it. If only Santa's workshop had given the script more of a tinker...

A solid espionage thriller that’s lifted by its charismatic leads, Red Sparrow commits to the brutality of its subject matter, meaning it’s never easy viewing.

Huard’s charm offsets the plots contrivances, while Ken Scott’s finely balanced direction humanises the high concept.

Very tame, but saved from the remake scrapheap by Sam Rockwell's surprisingly touching performance and a final reel that – briefly – takes the material somewhere new.

Great beginning, patchy middle, bum-note ending. Like the Roses’ 1980s-90s lifespan, Meadows’ loving report on a “live resurrection” is indeed alive and passionate, until too many gaps render it less than godlike.

The latest Halloween installment is fun while it lasts, but unlike its predecessor, it’s not a classic for the ages.

Two fine performances - particularly from an unhinged Winstead - almost elevate Smashed to greatness. But an under-worked script leaves you feeling groggy and bleary-eyed by the end.

Dreamworks’ sweet and cosy sci-fi comedy could have used more Oh-riginality but top-hole character design should ensure a Big Bang of Boov merchandise.

Frankly, if you’re buying a ticket purely for the behemoth battles then you’ll get your money’s worth: take your pick from a trippy rumpus that defies gravity, a Copacabana beach-off, some Planet of the Apes-esque monkey business, and a literal dust-up at the Egyptian pyramids.

Some of the vibrancy has worn off but this Rock-solid sequel has enough giggles and gasps to attract herds of viewers.

Gleeks and Glee-haters alike should rally around this raucous musical comedy. Rebel Wilson is hilarious, Anna Kendrick is terrific and there are as many gross-out gags as there are singing numbers.

It’s no Parenthood. It’s tonally messy. But Instant Family’s made with excellent intentions and chunks of it work.

For the most part a surprisingly fun, bloody take on Jane Austen’s classic – but it does turn stale as the final reckoning approaches.

Origins is an accomplished slice of comic-book entertainment, full of fights and action set-pieces impressive for a director touching big budget for the first time.

Fear falls short of fantastic yet it’s a decent effort that, like Pegg’s beard, proves to be something of a grower.

Dave Bautista’s street-level action flick is galaxies away from Marvel gloss, but the Guardians scene-stealer lends physicality to this gutsy, Carpenter-esque B-movie.

Jaw-dropping in colour and splendour, but if the constant awe gets a bit tiring, at its best you can genuinely feel some great wheel turning.

Well executed if not entirely original – with werewolves, what is? – Eight For Silver is an assured, engaging chiller.