The sheer volume of potential readings eventually stalls on reductive soundbites about a faithless generation, but the set-pieces sizzle with style.

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

Far too many characters are vying for screen time in this predictably plotted sequel, but thankfully a weird, wild, and utterly brilliant central performance from Jim Carrey makes this a fun watch. A fine, wheel-turning instalment in a continually burgeoning franchise that will no doubt continue for many years to come.

It may lose its way on occasions, but thanks to a committed cast and a script that captures the Kerouac vibe, Salles' adaptation never ends up on the road to nowhere.

Completely stripping the bold premise back, Nightbitch is one of the year's most disappointing releases, wasting the talents of the usually brilliant Amy Adams. This dark thriller is all bark and no bite.

The MCU’s self-appointed messiah might not have pulled off a complete course correction, but he delivers an action-packed, gag-stuffed crowdpleaser that gives the franchise a much needed lift. Jackman is worth his weight in adamantium.

With the story fit to burst with an Ocean's trilogy worth of hustles, tricks and grifts (some of them smart, others groan-inducing), at least Robbie is the genuine article – sharing playful chemistry with Smith, but ultimately stealing the movie from right under his nose.

If the imagery is less racy than TOF fans may be used to, Pekka Strang’s quiet turn as Laaksonen has a simmering power.

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

A very big, exceedingly dumb thrill ride.

A nifty lift-off and a tense first hour lead us, disappointingly, to a very bumpy landing. While Neeson and co. do their best, the script just doesn’t deliver where it really matters.

Within the first half-hour, all suspense has been punctured. Not only do you find out who the two men are, and why they and their jiggly testicles are galloping through New York, but you learn exactly who's chasing them and why. Worse still, like a flabby episode of Columbo, you get to know whodunnit right at the start of the film.

Ethan Coen strikes out on his own with a frivolous frolic that wears its slightness like a badge of honour.

While it lacks a memorable villain, and the central pairing fizzes but never sparks, the film gets by on its vintage charm and a third act upswing.

The breakout stars of the Despicable Me franchise seize the spotlight in an enjoyably demented off-shoot that is guaranteed to send their young fans bananas.

With McAvoy acting as if his life depends on it, Filth is the Irvine Welsh film we’ve been waiting years for. Tastier than a deep-fried Mars Bar.

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 a massive ensemble to play with and new characters to introduce, it’s inevitable that some cast members (Brie Larson’s Agency operative Tess among them) get a little shortchanged. But with Fast XI on the cards for 2025, there’s still time to shine as brightly as John Cena does here as Brian’s genially protective uncle: a retooled part that fits him far better than the nefarious one he took in 2021’s F9.

Some fun action and Glen Powell's star power aren't enough to energize a muddled, poorly paced ride with thinly drawn characters and an inconsistent world that wastes its abundant potential.

Director Dominik Moll makes some odd style choices – like Looney Tunes-style ‘iris wipes’ – and it’s a while before Cassel fully embraces his dark side, yet his customary charisma is what seals The Monk’s redemption.

Not without glitches but an energetic study of one woman’s refusal to settle for anything less than her share of the American Dream.

Shepard’s film is fun but forgettable in the first hour, then disappointing in the final third. But Law’s raucous turn keeps you watching.

This is an impactful and at times profound film, with a hauntingly lovely turn from Sandler.

Full of fizz, filth and fun, I’m So Excited! is like an ’80s retro-blast. Its scattershot comedy may not impress latecomers to Almodóvar’s career, but old-school fans will love it.

Smart dialogue, a gifted ensemble and good intentions from Jennifer Westfeldt, but her grown-up romcom can't quite escape feeling like a sitcom on the big screen.

A bracing attempt to bring the legend back into contention that successfully separates itself from other Super-movies but misses some of their warmth and charm. But given the craft and class, this could be the start of something special

Director Isabelle Doval’s relentlessly upbeat take is warm and fluffy, but leaves the sugary sentiments for the tear-jerking final reel.

All right, it's not up there with "Bridesmaids" but, thanks to a game Graynor (here channelling a young Bette Midler), a revolving door of cameos and some gloriously smutty pillow talk, For A Good Time delivers, yes, exactly that.