The well-worn platitudes and pained moralising are a bit much, but the music is tremendous.

A sad, gloomy family drama dressed up as horror, Maggie proves that Schwarzenegger can act when he wants to – even if he still looks like he’d rather be blowing shit up.

For all his noble intentions, though, Crocodile Gennadiy sure loves the limelight, forcing us to speculate whether he works for God’s glory or his own.

As a simple adventure story, The Mandalorian and Grogu is a lot of fun with Baby Yoda's sheer adorableness doing a lot of heavy lifting. Epic action and a pulsating score help bring this story to a cinematic level that feels a real step up from season 3. Yet, with surprisingly low stakes for a Star Wars movie, it all ends up feeling rather inconsequential.

Broken? Not quite, but certainly damaged. City offers star power, dashes of dazzle and plenty of movie nods. But Hughes’ thriller fails to locate a life of its own.

Jaden Smith takes centre stage in a futuristic rites of passager that plays like an extended episode of The Twilight Zone. Although "Oblivion" narrowly remains this summer’s better ruined-Earth actioner.

It's probably the best three-star movie this month. An effortless, emotional, funny little indie that few people will see. Be one of them.

It’s a crisp, cold little thriller with a real sense of the noose tightening around otherwise unremarkable lives.

The resulting pickle may seem alien to many, but Yaron’s navigation of Shira’s struggles make it tangible.

He might have lost his edge, but Parker hasn’t mellowed in his old age. A sunny, silly, violent revenger that puts Statham in good company.

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

The predictable plot gets an enjoyably venomous boost from Jemaine Clement’s revenge-obsessed cockatoo Nigel.

Gatsby fans will be unoffended yet untransported, but soundtracks will sell, DiCaprio will be on bedroom walls again and new readers may discover the book - which is no bad thing.

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…

Some will balk at Pinto's passivity, but Trishna again shows Winterbottom to be one of the few directors today who are liberated, rather than constricted, by classic literature.

Bursts of poetry, characters suddenly freezing, bees flying out of a priest’s crotch: there’s rarely a dull moment, but when it comes to explanation, the sparrow’s not the only one left hanging.

Its love-in-later-life insights are well-worn, but with Staunton on song, Richard Loncraine’s film mines genuine feeling.

There’s an emotional vacuum at its centre but Welcome To The Punch is an adrenalin shot to the heart of the Brit-crime genre.

There are some stunning moments, such as the eerily green-screened opener, and an unsettling underwater sequence up there with Dario Argento’s Inferno. But the 145-minute runtime feels increasingly indulgent, and Bonello borrows heavily from Kubrick, Lynch and Eternal Sunshine of the Spotless Mind.

A classy, actorly affair, whose emphasis on bittersweet character drama over class satire is both its most striking feature and biggest missed opportunity.

Leagues ahead of Legacy but the weakest of the Matt Damon movies, Bourne still has the power to thrill. But it seems his story has run out of steam.

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.

Impressive, if messy, the film combines kitchen-sink drama with found-footage horror, perjuring itself with too many plot possibilities.

A grand folly that makes the Wachowskis’ "The Matrix" trilogy look prosaic, Cloud Atlas is a fascinating if flawed work that will leave you gasping one minute and gagging the next.

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

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

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.

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