Two immensely enjoyable central performances and some of the best race sequences yet filmed fuel an otherwise standard sports movie.

Daniel Craig is on fine form leading a killer cast in Rian Johnson’s boisterously enjoyable murder mystery. All the evidence points to a winner.

For those seeking comfort, kindness and a sense of cherishing in a turbulent world that seems to reward cruelty over caring, A Beautiful Day will be cinematic balm. Surrender to it and bring tissues.

Though it dabbles with the horror of the Third Reich it never examines their worst atrocities ... And that perhaps, is too careless in today’s world of a rising far right and stealth dictatorships. But if you’re looking for giddy escapism, Bowie tunes and an unapologetic good time with a side order of remembrance for of WW2, then you’ll have as much fun as the cast clearly had making this.

A fleet-footed and boisterously enjoyable Dickens adaptation that breathes new life into a well-worn story. A winning Dev Patel leads a highly amusing cast.

A mix of the intimate and cosmic that shoots for the stars. You’ll float… and sometimes bump back to earth.

More character study than comic book movie, and anchored by an Oscar-worthy Joaquin Phoenix, Joker is a bravura blockbuster that proves you don’t need superpowered scraps to dazzle.

A World Cinema Dramatic prize winner at Sundance, Hogg’s best film yet is an instant British classic.

Powered by the magnetic Aaron Taylor-Johnson, it’s rough around the edges, but still intoxicating.

Sublime and stupendous. Beautiful, bold and remarkably executed, this is Gray’s masterpiece, driven by a career-best turn from Pitt.

Aja brings an exciting if less- than-watertight script to life with a minimum of fuss, plenty of flair and just a few eye-rolls.

Maudlin, glum and distinctly cheap-looking, Angel brings the curtain down on a trilogy that should have never got this far.

Tween-appropriate action and jungle-genre gags keep this family-friendly reboot giggly rather than gripping

A well-cast coming-of-age story with a potty mouth, Good Boys certainly has its moments, but is overall pretty small fry, too reliant on recycling the same joke.

Pleasingly silly sequel is a colourful, creative, deliciously daft animation.

Testosterone, muscles, action, guns and cars… it’s Fast & Furious business as usual. Could be tighter, mind, and the constant dick-measuring gets a little wearying.

Tarantino’s ode to Hollywood is his best since "Jackie Brown"; an evocative and disarmingly heartfelt LA story, capped by a finale you won’t forget.’

The ’toon still rules when it comes to heart, but this shot-for-shot remake is an impressively mounted, visually breathtaking nostalgia rush.

Creakily slick like the rest of The Conjuring series, this spring-loaded spook story hits the mark more often than not.

Midsommar features a standout performance from Florence Pugh and an expertly assembled atmosphere of dread, even if its lacks the propulsion and all-consuming terror of Hereditary.

Another home run for the MCU that puts Pete’s responsibilities in a post-Iron Man world front and centre during a rib-tickling summer romance. Whatever you do, don’t skip the credits.

If your humour skews towards the sick and twisted, then this box-fresh Child’s Play will give you one almighty kick.

Making his feature debut after directing a couple of Pixar shorts and co-writing Inside Out, Josh Cooley proves there’s life beyond the trilogy.

It takes more than two Avengers and the director of Fast & Furious 8 to make the MIB hip again.

Despite mostly sparky cast-work, the Phoenix never quite rises as hoped in Kinberg’s affectionate but often perfunctory X-Men send-off.

Godzilla: King Of The Monsters improves on its predecessor in terms of the kaiju carnage, but still can’t quite make you care about the humans underfoot.

A film to make your blood run cold, Nemes’ first-person account of life, and death, in a concentration camp contains horrors you can’t – and shouldn’t – unsee.

Egerton gives it his all, and there are moments of visual invention, but this largely formulaic rock biopic can’t hit the high notes.

Taking Don’t Look Now as a reference point, Gary Sinyor’s film is turgid, flabby and – despite some committed performances and great ideas – toothless, with neither tension nor bite.

Between its orgiastic carnage, orgasmic colours and very good dogs, Wick’s return gives hyper-stimulated action cinema a good name.

Reynolds and Pikachu make an inspired combo in a CGI/live-action mash-up that otherwise adheres to a rigidly boilerplate formula.

Not quite as good as Infinity War, but wears its three-hour running time with ease and rewards the fans. Part of the journey is the end, and this goes out with a bang that’ll make you whimper.

Hell, yeah? Hellish, more like. Despite its lead’s best efforts, this disastrous deboot is a gore-soaked bore.

There are thrills and feels but this reimagination of the delightful animation doesn’t take flight often enough.

About as funny and charming as superhero movies get. Expect it to make household names out of its title character and leading man.

Led by some fine performances, this is an impressive and intense example of how to adapt Stephen King.

Peele doubles down on his genre love with a flawed but full-bore frightener, ripe for debate. Nyong’o is incendiary.

A satisfying standalone launch for Marvel’s latest superhero combines sci-fi action with ’90s nostalgia. Overcoming minor stumbles, it ultimately soars.

It may not dazzle as much as Attack the Block, but Cornish’s second feature is a fun family adventure.

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

Neeson’s knees hold up in an oddball thriller that’s more interested in smirks than smashing things to smithereens.

A little more anger would not have gone amiss in this well-acted but strangely remote slice of Oscar bait

One of the decade’s most accomplished fantasy sagas signs off with a finale that’s exciting, moving and fabulous to look at.

Impressive VFX and bursts of action can’t mask the fact that this is a tonally confused start for a sci-fi franchise hopeful, made up of scrap parts you’ve seen put to better use elsewhere.

When the sentiment threatens to turn gloopy, Ali and Mortensen’s terrific leads steer Farrelly back on-track.

The sci-fi settings – dystopian grit-scape, rainbow-coloured cosmos – are dazzlers; the satire is playful not snarky; and as you’d expect, several unexpected cameos. It doesn’t sweat too hard to appease both kids and adults – the latter’s pain much felt in a scene you might describe as product mis-placement.

The powerful, vanity-free performances are the real thing in this bittersweet biopic.

A superlative slice of ’70s social realism.

Christian Bale outstrips all his previous transformations.

An uncomfortable fit for the Time's Up era.

Shyamalan concludes his secret trilogy with a film easier to admire than love. McAvoy is terrific again, but Glass doesn’t quite live up to the lofty heights of Unbreakable and Split.

A spiky, pithy, and unconventional delight.

Gently joyous, from soup to nuts. Take your grandparents and they’ll enjoy it as much as you.

A sweet, evocative throwback that delivers all the feels – in the most delightful way.

Overlong, but Momoa’s charisma, plus first-class fishy FX, keep it afloat.

Despite the odd awkward tonal gear shift, Knight’s origin story makes refreshingly light work of its uphill climb, fuelled by wit and warmth. And – crucially – with better songs on the retro-tape deck.

Wildly inventive, unpredictable, and unhinged, Riley’s genre-bender stands out from the comedy pack.

So damn charming it makes your heart twinkle like Redford's eyes.

A joyful, trippy new incarnation of Spider-Man that you didn’t know you needed, brimming with wit, soul and jaw-dropping visuals.

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

Blow for blow Creed 2 is a closer match for its heavyweight predecessors than anyone dared hope. Transparently formulaic at times – but boy will it get your blood pumping.

A so-so sequel enlivened by a few inspired moments. Ralph and Vanellope are still good company, but this concept might have worked better as a series of shorts.

Rowling’s universe just got bigger and more complex, but Yates never forgets to sprinkle stardust on top.

A heist movie with serious bite, Widows is both brilliantly tense and strikingly relevant.

This latest Millennium movie smooths out the series’ earlier quirks. But there’s action galore and Foy makes a poised, dangerous heroine.

An all-too-familiar story is told with empathy and vigour in a film arguing for tolerance, activism and change.

Definitely not Killer Queen, but thanks to a blinding turn from Malek, fans of the band will get their kicks.

Fleischer made a better comedy-horror with Zombieland, but Venom’s a decent buddy actioner. You might even laugh your head off.

If the film isn’t quite as inventive as the game-changing horror that was Cabin in the Woods (which boasted Joss Whedon as co-scripter), it’s infused with affection and craft.

An engaging new direction for Eli Roth, who offsets the odd tonal hiccup with plenty of ghoulish delights.

Paul Feig makes a slight gear change for a slick thriller that’s best enjoyed with a martini in hand.

“YOU RIPPED MY FAVOURITE SHIRT!” Cage loses it in a bloody, druggy, superbly crafted revenge thriller. Astonishing.

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

Chazelle broadens his horizons with this superbly detailed account of the Moon landing. Gosling and especially Foy are out of this world.

True, Cooper’s film could do with a tighter edit, especially in the second act, where it has a tendency to drag. But all told, A Star is Born is a big achievement: raw, romantic, tragic, and tumultuous.

What Black’s movie really has going for it is pace. It starts with a crash, followed swiftly by a bang and vast swathes of wallop. The relentlessness doesn’t allow you any time to catch a yawn, but it’s also not too conducive to tension or suspense.

Too rackety and hackneyed to scare, The Nun groans next to the likes of Hereditary. Only the moody, menacing abbey inspires the right levels of belief.

Running from entertaining to tense as hell, Layton’s docu-drama heist flick grapples with something that most capers can’t even begin to compute: consequences.

A retro science-fiction actioner with both brains and brawn – quite a lot of brawn, actually. Surely destined for cult status.

Emmanuel Gras’ film may be a doc, but with its luscious compositions and heart-rending score it plays like some post-apocalyptic Malick movie: thick dust storms, whispered prayers and an aching empathy for people scraping a living amid utter deprivation.

The farce is infectiously fun and visually joyous.

A low-key charmer, this lovingly-crafted, melancholic movie is a big, comforting hug of a film.

An innovative genre blend that overcomes its bagginess thanks to sharp character comedy and a wildly appealing central dynamic.

Furious, relevant, and funny as hell.

Living up to its billing as the most ridiculous film of the summer, The Meg is one to laugh at rather than with. Instantly forgettable, but undeniably fun.

McQuarrie brings grace and grit, and Cruise brings it, period. This quick-witted, fleet-footed franchise shows no sign of flagging.

Paul Schrader’s best for 20 years. A stunning study of one man’s flaws and an apocalyptic vision of mankind’s fate.

Macdonald leaves no stone unturned in this tremendous look at Houston, one that sheds real light on the singer’s psychology.

With inventive action and a gag-rate that bests most comedies, Ant-Man and the Wasp is the kind of slick entertainment you’ve come to expect from the MCU, with Rudd and Lilly’s winning double act at the centre.

Be sure to make family time for Bird’s flawed but dazzling sequel. “Superheroes suck,” says Violet. No, they most certainly don’t.

A robust follow-up, which carries the same brooding atmosphere and tension of the original. The young cast additions are also excellent.

Benson and Moorhead’s sophisticated sci-fi/horror features minimal SFX but more ideas than a TED talk. Uncanny, and uncannily good.

Foster and McKenzie thoroughly convince in the hands of Granik, who moulds a subtle, assured, and often powerful tale.

Simply doesn't have the original's magic.

After a first half that suggests franchise fatigue is setting in, Fallen Kingdom zooms in for some scarily good set-pieces.

A tour-de-force turn from Toni Collette powers one of the most affecting horrors in recent memory. Genuinely unsettling in a way few genre efforts are: you’ve been warned.

Far better than we had any right to expect. Thrilling set-pieces, spine-tingling iconography and a Han/Chewie bromance to savour.