The script keeps its gloves on but Gyllenhaal gives his all, notching up one of his very best performances.

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

Fast-paced, explosive, ultra-violent, the incredible action scenes will have you cheering from your sofa, sending the popcorn flying.

Hugely charming if somewhat cluttered, Burton’s horror-spiked YA freaks-and-a-geek fantasy proves a Home run for Asa Butterfield.

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.

Closer to Eli Roth than Sam Raimi, this brutal retread combines J-horror atmospherics with torture-porn kills. It’s more evisceration than invention but at least has the courage of its bloody-minded convictions.

Unashamedly absurd, wildly entertaining and face-achingly funny, Love And Thunder makes Ragnarok look like Bresson. Another classic Thor adventure.

The punning title is true; his bracing words narrated by admirers, Fuller’s amazing journey is lovingly honoured. Fuller Life, full of heart.

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

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

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

With largely improvised dialogue and a cast including genuine ex-offenders, Chapiron captures a powerful stench of authenticity.

A visually inventive, deliciously dark fairytale reheat. The story's far from the stuff of legend, but Theron makes for a ferocious meanie, helping to flush away "Mirror Mirror's" sugary aftertaste.

Tom Hanks, his dog and a robot charm in a post-apocalyptic road movie assembled with care and a light touch.

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

Loaded with flashbacks, it’s unevenly mounted but kept watchable by the lively script and classy cast.

Exciting, in places, though a stranger to subtlety, it ticks all the genre boxes, but there’s something about its knowing noirisms that feels superficial rather than soaked-in.

Like E.T. gone wrong, director Kiah Roache-Turner’s underdeveloped but briskly suspenseful, suggestive arachno-shocker sees a kid with family issues find solace in alien company. Only this spidery E.T. will gobble you up before it phones home…

Entertaining, engrossing and at times genuinely unnerving, Bruckner’s bad trip is one for horror fans to relish.

Well-crafted, well-intentioned and well, just a tad dull.

A vital, visceral antidote to Trump's slick PR machine.

A solid outing for a re-Bourne hero that could, with a few key tweaks, generate another round of vehicles for the Clancy cash cow.

You’ll flinch, yes, but you’ll forget it just as quickly.

It’s impossible to hate a film where the cast is so game, but you may struggle to remember it the morning after.

This was the Mamma Mia! of its day, a nostalgic blast of popular Irving Berlin showtunes gift-wrapped in new-fangled VistaVision that danced its way to the top of the 1954 box office.

Set pieces play saviour in Netflix and Chris Hemworth's generic kidnap thriller.

It's no Hakuna Matata, that's for sure. And it's far from Jenkins' best work, but in any other hands, a lot of Mufasa's intentions would have completely misfired. Thankfully there are some stellar vocal performances and VFX – but it could have been so much better.

A solid if far-fetched thriller that still entertains, even as it goes off the rails.