An exquisitely crafted sequel that stands shoulder to shoulder with one of the greatest films ever made. Everyone involved is operating at the height of their powers.

There’s a neat final twist up [Attila Till’s] sleeve – and by casting paraplegics, he avoids the easy sentimentality that subjects such as this often invite.

An engrossing biopic. More than just another author/creation story, Curtis’ film has things to say about celebrity, wartime and family.

Fun, fleeting entertainment if you’re after more of the same, but fails to carve out any fresh ground.

From the generic title to the formulaic plot (stolen plutonium, highest bidder etc.), you can imagine the rest. But director Michael Cuesta (Kill the Messenger) injects vitality where it’s needed.

[Bertrand Tavernier] pays heartfelt tribute to the directors, stars and composers who ignited his passion.

Believers will be more interested in what he uncovers than the layman, who will soon identify this ’80s-set adap of Lee Strobel’s book as a tedious sermon that’s preaching to the converted.

This funny, touching adap of Shrabani Basu’s 2010 biography has its own chemistry, withering wit and unsentimental message of acceptance. A royal treat.

The plotting is tangled, the emotional undertow slight, but the action keeps on coming, including a blistering multi-player sword fight on speeding bikes.

Weird, twisted and deliciously unique, Medina’s horror taps a dynamic vein in feminism and Giallo-esque gore.

Aronofsky’s maternal horror is the most out-there studio movie of the year. You won’t believe your eyes.

A rubbish fright flick.

What emerges is as riveting as it is revelatory.

Earnest intentions may be behind this bawdy yet heartfelt sport-quel, but it’s a largely unnecessary rematch.

Thrilling and haunting, pitching the power of adventure and friendship against the day-to-day horrors of childhood and a chilling Pennywise. An absolute scream.

Sheridan directs as well as writes for the first time, and delivers a superb thriller with a powerful chill that gets in your bones. Smart, tense and soulful.

An intriguing tale of faith under pressure emerges, but it’s too slow and simple to truly convince.

The farcical third act, wrapped up too neatly by director Lucia Aniello, softens the blows. More edges needed.

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.

Cruise is on top form in a based-on-fact thriller that overcomes its familiar trappings with audacious details and flat-out pacing.

The sense of angry desperation overwhelms.

Lowden and Findlay excel in their roles, but Mark Gill’s Moz-movie needed more: both more music and more “people who are young and alive”.

If the formula feels familiar, the girls’ personalities obliterate any chance of tedium, with Broadway producer-turned-director Amanda Lipitz providing sensitive insight into their home lives while capturing the toe-tapping with joyful aplomb.

The script is straightforward enough, but Lights Out director David F. Sandberg’s careful visuals emphasise shivery mood for something worthy of the Conjuring label.

The doc-flavoured approach lends both urgency and tedium, while the blend of miniatures, stop-motion and CGI references the various looks of his 63-year history.

Like an arthouse Ghost, this is bold, original filmmaking with a pervasive sense of amused detachment.

Stenberg’s effervescent turn can’t save this from curdling early into manipulative, melodramatic mush.

This portrait of an alienated culture funnelling its rage into gun violence is itself too cold and distant to connect.

As reality and fantasy blur, we’re taken on an occasionally confounding but enchanting quest with poignant reveals in store.

Director Amat Escalante channels Cronenbergian carnality and Andrzej Żuławski’s Possession, while Simone Bucio and Ruth Ramos deliver stunning performances. Beware: this is explicit stuff.

Never preachy, always engaging, Al’s follow-up to his 2006 Oscar-winner paints a startling picture of a world in crisis.

As baffling as it is dull, The Dark Tower is a disappointment for both hardcore fans and the King-curious. Stick with the books.

Two characters, who you won’t like, insulting each other for two hours. Give it a miss and rewatch Midnight Run instead.

In Soderbergh’s self-aware hands, it’s a character-centric, director-driven, genre-savvy invitation to take pleasure in a job well orchestrated, right up to a judicious closing shot that leaves you wanting to linger awhile with its motley crew.

Strained, shrieky and lacking likeable characters, it bizarrely forgoes any insight into parenting, gambling, or the cost of education for Grand Guignol limb-lopping.

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

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

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

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

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

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

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.

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.

Much mellowing and life-learning ensues in a plodding dramedy, though the glint in MacLaine’s eyes makes it almost worth your while. Almost.

The burgeoning bond between man and monster hits soaring emotional heights, even if the new world feels a little under-developed.

An uncompromisingly bleak slow burn, it leaves the pulse frantic and nerves frayed.

No Badlands, but the best of the recent minor Malicks. And it features Val Kilmer with a chainsaw.

While their situation feels futile, the film is almost poetic in posing important questions.

Joachim Lafosse’s drama is an unsentimentally observed, credibly acted study of a marriage turned sour.

Theron is totally badass in a relentless thriller that never takes its foot off the gas. Bold and brash, with some of the year’s most bruising fight scenes.

"Dunkirk" has a rival in the intensity stakes. Expect Bigelow’s deep-cutting drama to be part of the conversation come awards season.

Mixing a rom-coma into the romcom, this smart, sweet and highly personal love story finds a winning formula.

Haunting, thrilling and emotional, Dunkirk is a prestige pic with guts and glory that demands multiple views. Especially in IMAX.

Pixar’s least essential franchise gets back on track with a polished but disposable threequel.

Jean-Pierre Léaud effortlessly summons up the iron ruler inside the failing man.

An intriguing insight into Lynch’s genius, intimately crafted and leaving you wanting more.

Witty, menacing and steamy (in every sense), The Beguiled is an intelligent update and Coppola’s best work to date. Oscars await.

What keeps gratuitousness at bay is Zhangke’s controlled style and empathy for the have-nots

Hilariously infectious and full of hope, Spider-Man’s return to Marvel couldn’t be more welcome.

Madame Bovary meets Thérèse Raquin with a splash of Lady Chatterley in a pared-down drama that packs a real punch.

Occasionally rambling, it’s kept afloat by an eclectic soundtrack and Christopher Doyle’s striking urban lensing.

Crime, romance, fast cars, hot tunes... slicker than your chrome hubcaps, Baby Driver is the summer’s coolest movie.

An exquisite portrait of Hiroshima before the bomb that conjures a powerful sense of what – and who – was lost.

This solid if unspectacular finish to the Apes trilogy features an A-game Andy Serkis and incredible VFX, but its darker excesses threaten to suffocate at times.

By now you know exactly what to expect from a Transformers film: undeniably epic action spectacle at the cost of character, logic or genuine drama. Predictably formulaic.

An old-fashioned romp through the eccentricities of the upper classes, it’s a fun mystery with a nicely filthy mind.

Fukada contrasts understated realism with haunting, dreamlike images. Unsettling and morally complex.

Irish politics made accessible with the help of a playful script, two fine performances and 11 years of hindsight.

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.

The characters are unfailingly polite, whatever their grievances, and there isn’t a single false note in this generous, affectionate portrait of people making the best of their situation.

Beautifully animated, scored and written, Barras’ little movie has a big heart. C’est fantastique.

Sabine Krayenbühl and Zeva Oelbaum’s elegant mix of voiceover, archive footage and talking heads lets “the female Lawrence of Arabia” largely speak for herself, illuminating the pivotal role she played in shaping today’s Middle East.

Gadot is a godsend, Pine charms, and Jenkins delivers old-school thrills with heart and conviction.

Violence seems inevitable but Von Horn plots cause and consequence with patient precision.

Unfunny, unthrilling and unsexy, this doesn’t even reach the low bar set by the source material.

Dudok de Wit and Ghibli have birthed a pan-continental marvel: a fable-cum-fantasy of a life adrift, aching with tender beauty and awed by nature’s extremes.

The pacing is spot-on, the set-pieces memorable and all the characters are allowed to shine, without it ever becoming The Johnny Depp Show.

A rib-tickling homage to the gumshoe shows of yesteryear, with an endearingly daffy mindset.

Kooler convinces, but it feels like TV sketches, with not enough laughs.

Handsomely shot but rather inert adap of mid-19th-century play A Month in the Country.

This is a tonal misfire, its characters cut down by a blitzkrieg of whip pans, CGI and thunderous percussion. And with Ritchie again rummaging in his increasingly threadbare bag of tricks, the result is a movie more jaundiced than jaunty.

Chastain stalks the corridors of power with steely aplomb in Madden’s coolly compelling incursion into House of Cards territory.

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

[An] engaging if straightforward doc.

Dagg keeps things simple, but his jogging camera whips up the urgency and he’s well-served by Sutherland’s rangy physicality.

With the scares stealthy, Gavin’s parable draws power from the heart’s shadows: the climax may alienate some, but its audacity is earned.

It’s heavy-handed, but with such fine performances from the youngsters, aided by the ever-reliable Shirley Henderson (as a social worker), that it’s hard not to get sucked into this tragic tale.

The Guardians get a welcome return to the big screen, which despite many positives, fails to match the dizzying heights of the original.

Too slow for the mainstream, perhaps, this presents a disgusted worldview thats painstakingly plausible, however much we may wish differently.

Shot with a retro chic, their courtship is crisp, but there’s enough grit in this Cannes prize-winner to stop it floating away.

Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.

A very big, exceedingly dumb thrill ride.

The cinematography’s sumptuous, but pacing is very stop-start. Worse, there’s an aura of male entitlement, fuelled by the script’s uncritical reverence of its flawed philanderers.

A classy ensemble (Charlotte Rampling, Harriet Walter) supports Jim Broadbent’s amusingly tetchy lead, while youthful flashbacks evoke a mood of romantic yearning.

A ravishing period piece that simmers with sexual tension while pulling off some dazzling narrative gymnastics.

A rich, rewarding crime film, shot with real skill. Riz Ahmed confirms his status as one of the most exciting Brit actors of his generation.

It’s fascinating stuff, if all a little rushed.

All hot wheels and dick jokes, it’s fun but forgettable.