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 works hard, and the first half hour is textbook creepy, but the oldschool grab-bag of shocks struggles to jolt a dour script to life.

As a comedy creation, David Brent is still a masterwork, and the film works best when the pathos hits as hard as the punchlines. But Life on the Road should probably be the leaving party we all thought had been thrown a few times already.

Four trivial stories, forced laughs: don't expect much more from Allen's latest postcard from Europe.

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.

Like most daydreams, The Secret Life Of Walter Mitty is funny, sad, weird and corny all at once – and you’ll probably only remember the good bits as soon as it’s finished. But it’s still a lot better than real life.

Bob has spawned multiple books, but what works on the page seems slight on screen. That’s not to say it isn’t life-affirming, it’s just not quite the cat’s pyjamas.

No huge surprises but finely tuned and fun, like the love-child of Gravity and Alien, with added popcorn.

Marvel’s man with the mallet does all that’s required of him in a breakneck sequel that’s never dark for long. Next time, though, we’ll have more Loki and fewer elves.

Not disastrous but disappointing all the same, The Conjuring: Late Rites commits the ultimate sin of not quite being bold or memorable enough for a final chapter.

Kim Jee-woon's riff on the western is an entertaining frolic back-loaded with gore and guffaws. Arnie's back!

Despite Gwynnie and her lingerie-clad lap-dancing, this sober, issue-based dramedy is preachy and a tad soapy, rather than provocative. Fine acting, though.

Though suffering from its own shortcomings, Zack Snyder’s gargantuan Justice League is a commendable improvement on the widely derided original. Stock up on snacks.

Intelligent, original and committed, it’s also a little meandering. But Records cuts a strikingly amoral figure, and the sight of Christopher Lloyd intoning poetry over dying embers reminds us what a wonderful actor he is.

The director paints a partisan picture, but offers an eloquent and effective challenge to orthodox eco-wisdom.

It never feels particularly different to what you’ve seen before, and doesn’t push any boundaries visually or narratively in the way its DWA stablemate Puss in Boots: The Last Wish did.

The Witcher: Sirens of the Deep breathes fresh air into The Witcher's increasingly stale franchise. Anchored by a wonderful voice performance from Doug Cockle, small distracting details aren't enough to overwhelm a well-paced and enjoyable new adventure for Geralt of Rivia.

Richard Laxton’s painterly film combines the gothic shadows of Hitchcock’s Rebecca with the gut-wrenching romance of A Royal Affair. The result is dark and offbeat, but as a murky anti-romance, Gray is undeniably effective.

The story is predictable, but Simmons’ tighty whities and Delpy’s fish impressions compensate.

What could have been an exciting experiment in telling a new tale in a beloved universe in a very different way feels heavily compromised.

Sparkle isn't "Dreamgirls" – but fans of schmaltzy showbiz fairytales should enjoy it.

Most of the gags fall flatter than a Knoxville belly-flop.

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

Childminders rejoice: the formulaic but family-friendly series is back and it's business as usual.

While it's stronger on gunplay and horseplay than plot, this is a solid entry for BB fans.

A swearing dog voiced by Jamie Foxx is funny – once. Having set up its ribald premise, however, Strays – an R-rated riposte to such talking-pooch heart-stirrers as 2017’s A Dog’s Purpose, complete with cameos from that film’s stars – has to relentlessly and tiresomely up the ante, plastering the screen with so many peeing, pooping, and humping tail-waggers it feels more like A Dog’s Porno.

Bright, lively and funny.

From niche subject matter, Fletcher's crafted a movie that's both universal but also unashamedly, gloriously British. Very funny, genuinely moving and endlessly good-natured.