The minions give good mayhem and the twig-armed animation’s lovely. Despite the coolest submarine-car since Bond’s Lotus Esprit, though, Despicable Me 2 is light on gadgets – and surprises, too.

Sully is a skilfully made reconstruction of a recent real-life feat of heroic professionalism. But narrative tension is sorely lacking.

Shyamalan concludes his secret trilogy with a film easier to admire than love. McAvoy is terrific again, but Glass doesn’t quite live up to the lofty heights of Unbreakable and Split.

There's enough gore, ideas and self-aware absurdity here to make it something a bit more enticing than merely "Alien: The EastEnders Redux."

It's stiff upper lips versus ruthless efficiency in Petter Naess’ modest WW2 drama.

Technically impressive, genre-smart and nerve-shredding while it lasts, Silent House is really just a fun campfire horror tale.

El Camino, then, offers a final – if not wholly necessary – farewell to some of the greatest characters ever put to television screens. And Jesse, poor Jesse, finally gets the closing chapter he deserves.

The storytelling can feel a bit plodding, but Jim Broadbent’s exuberant Ernest and Brenda Blethyn’s timid, upwardly mobile Ethel give the marriage a touching intimacy and warmth.

It’s not the most probing doco, but the man himself, mobbed wherever he goes, emerges as a genuinely charismatic, likeable individual.

Assured, adult filmmaking from a writer/director who knows her way around the ups and downs of relationships.

Gusman is sullenly magnificent; you can’t fault the movie’s realism either, shot in an actual prison and soberly reflecting some acute social problems. But the movie’s muggy pace makes you feel that you’ve served every day of Julia’s sentence with her.

With a wraparound narrative that never really strikes a balance between past and present, all that axe-flinging, ice-casting action makes a modest impact.

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

Straight Outta Compton soars for an hour before spiralling into a bloated, melodramatic mess. Still, it’s worth it for the early ferocity, capturing just how powerful N.W.A really were.

Working from a script by Greg Rucka (The Old Guard) and Allison Schroeder (Christopher Robin), director Tom Harper (The Aeronauts, Wild Rose) displays impressive action chops, injecting Heart of Stone with plenty of explosive fights and spectacular stunts. On those grounds, it’s rollicking genre fare. Story-wise, however, it plays all its best hands early on.

Fans, naturally, might simply want what they came for, and leave licking wounds. But they should be partially sated by some grisly kills and nods to Carpenter classics Christine and The Thing. And besides, let’s not fool ourselves that it really ends here. Friday the 13th: The Final Chapter was followed a year later by Friday the 13th: A New Beginning.

This latest Millennium movie smooths out the series’ earlier quirks. But there’s action galore and Foy makes a poised, dangerous heroine.

Lionising the pulverising, this is more fun than it has any right to be. The hockey technicalities may alienate, yet the demented, bone-crunching scraps, war-time team mentality and Whip-It style anarchy is addictive.

Another silly but sturdy instalment that’s as well-oiled as The Rock’s muscles. If the ‘Letty in London’ story doesn’t exactly have that new-car smell, this is still the fastest soap opera on wheels.

With Yakin's all-action plot operating like clockwork, an on-song Statham proves anything but expendable in a genre he dominates. Predictable, sure, but equally pleasurable.

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

A through-and-through weepie that's unlikely to convert any Sparks naysayers. The darker hues of its war-based story nonetheless make the sugary excesses easier to swallow.

Fans will find just enough heart-swelling moments involving friendships and family to enjoy one last group hug.

A plodding, predictable script hampers this tale of a real-life legal battle. But it’s redeemed by a vital central performance – and some vivid flashbacks.

For all its warm-hearted fun, well-crafted thrills, careful nostalgia and girl-powered gadgetry, this fast-paced family film doesn’t always feel like a natural fit for Hollywood’s favourite genre-bender.

A sweet-natured love story, well-intentioned, animated and acted, but lacking the depth of some of the studio’s greatest triumphs.

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

Series veteran Chris Renaud (who co-directs with Despicable Me lead animator Patrick Delage) ensures that there’s nostalgic value for older generations, notably in the surprisingly heartfelt, Tears for Fears-soundtracked finale. The addition of the cunning Gru Jr proves a deft move, too; the father/son, bonding/tormenting scenes bring a fresh (and at times touching) dynamic to proceedings.