Jared Hess's indie sensibilities help to elevate a video game adaptation that is boosted further by Jack Black's irrepressible star turn. The special effects could be better, as could the female roles. But this remains an entertaining fantasy adventure that makes light work of what might appear to be unpromising source material.

The Russo brothers deliver a fun and very current take on tech vs humanity with a core message on how human connection conquers all in this visually stunning sci-fi family adventure. However, the rushed storyline and vast list of underdeveloped characters ultimately let the movie down.

Slick and silly action sequences garner Fight or Flight well-earned John Wick and Bullet train comparisons, while Josh Hartnett proves himself a worthy action hero on this, at times, bumpy flight path.

Mickey 17 is funny and charming from the get-go, building out a fascinating sci-fi world from its central conceit that ends up speaking to powerful and timely concerns through humour, satire and exhilarating genre elements. Bong Joon-ho's best English movie to date and arguably Robert Pattinson's best movie ever.

Anthony Mackie's Captain America earns his Stars and Stripes in this uneven, un-MCU thriller. Sam Wilson and an always-excellent Harrison Ford drag Brave New World into unfamiliar narrative territory before it eventually succumbs to familiar Marvel failings.

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.

The Monkey might be a horror, but it's a laugh riot too, as Osgood Perkins offers up a plethora of inventively gruesome kills and some surprisingly profound ideas surrounding life and death.

Star Trek: Section 31 doesn't know what it wants to be. Is it a serious exploration of the criminal underbelly, a camp throwback to the noughties, or a tonally off combination of the two? Whatever it is, it doesn't work half as well as it should.

Leigh Whannell has done it again, bringing his talents back to the world of Universal monsters with a worthy update to another horror icon. With solid performances, impressive effects and well choreographed action, Wolf Man may be sappy in places but it wears its tragedy on its sleeve to heartrending effect and balances it out with plenty of scares.

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'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.

Though closer in quality to Morbius than Venom, Kraven is far from a catastrophe and serves up a decent helping of bloodthirsty, globe-trotting action. Taylor-Johnson makes a muscular if self-satisfied protagonist in a film that would have been better off standing on its own shoeless feet than cravenly (or should that be, 'kravenly') cleaving itself to its comic book brethren.

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

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.

Nosferatu delivers a relatively straight re-telling of this classic gothic tale. It looks and sounds stunning and is packed with vampiric horror. It doesn't push many boundaries but if you wanted the classic Dracula narrative feeling exactly like it’s directed by Robert Eggers, you're going to love it.

Moana remains as compelling a protagonist as ever in her much-anticipated sequel, whilst her reunion with Maui showcases the wonderful voice talents of Auli’i Cravalho and Dwayne 'The Rock' Johnson. There’s plenty to admire in the animation and rich mythology of the tale, but it rehashes many of the themes and plot points of the original leading to a fun but less vital movie.

If you're a Wicked fan, it's hard to imagine you could want anything more from this thrillifying film adaptation. Ariana Grande's and Cynthia Erivo's performances as Glinda and Elphaba will have you defying gravity.

Not perfect and not a patch on the original film, but the magic of Ridley Scott's direction and Denzel Washington's performance elevates Gladiator 2 into the epic spectacle it needs to be. But best to manage your expectations in comparison to the Oscar-winning film.

Antonio Banderas chews scenery with varying results but Olivia Colman is pitch-perfect as the all-singing all-dancing Reverend Mother. Paddington's latest adventure may be the weakest of the films so far but it remains a total delight.

Frustratingly, [Marcel's] movie maintains the issues of the first two films – ropey effects, muddy night-time action scenes, a determination to be family friendly at all times – and then undoes any goodwill its more successful components have inspired by including a mid-credits sting that renders the previous 109 minutes obsolete.

A little baggy in places with its two-hours-plus runtime, and a touch convoluted too, Smile 2 is a visually impressive sequel with solid performances, an expanding lore, and some genuinely scary moments, making it a very successful follow-up to a recent horror favorite.

An impressively cinematic drama that fully immerses viewers in a time and place but offers links to our divided present.

Mielants, who brilliantly conjures a dank, oppressive mood (even a shot of childhood fave Danger Mouse on TV fails to lift the spirits) skilfully avoids any overwrought confrontations; the film’s understated power only grows as it goes on.

Pedro Almodóvar fans may be wrongfooted by the writer/director’s first full-length English-language feature, an atypically austere entry in his canon that’s nevertheless as vivid and haunting as much of his other work.

Timestalker has something to say about romantic obsession: like a teenager, Agnes is slow to learn from her mistake of idolizing an unsuitable pretty boy. It’s also a neat switch on gender norms in Hollywood comedies past, to which Lowe has fun paying tribute: the '80s will be familiar to fans of everything from Working Girl to Back to the Future.

The gleeful nastiness will be too much for many. Fans, meanwhile, will rejoice as Art wraps intestines around a Christmas tree like tinsel.

A Different Man is in essence a meta-movie, one that cunningly examines issues surrounding beauty and artistic creation.

Compared to the average family-friendly animation, this is very much an upgrade.