Aja brings an exciting if less- than-watertight script to life with a minimum of fuss, plenty of flair and just a few eye-rolls.

Maudlin, glum and distinctly cheap-looking, Angel brings the curtain down on a trilogy that should have never got this far.

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

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.

Pleasingly silly sequel is a colourful, creative, deliciously daft animation.

Testosterone, muscles, action, guns and cars… it’s Fast & Furious business as usual. Could be tighter, mind, and the constant dick-measuring gets a little wearying.

Tarantino’s ode to Hollywood is his best since "Jackie Brown"; an evocative and disarmingly heartfelt LA story, capped by a finale you won’t forget.’

The ’toon still rules when it comes to heart, but this shot-for-shot remake is an impressively mounted, visually breathtaking nostalgia rush.

Creakily slick like the rest of The Conjuring series, this spring-loaded spook story hits the mark more often than not.

Midsommar features a standout performance from Florence Pugh and an expertly assembled atmosphere of dread, even if its lacks the propulsion and all-consuming terror of Hereditary.

Another home run for the MCU that puts Pete’s responsibilities in a post-Iron Man world front and centre during a rib-tickling summer romance. Whatever you do, don’t skip the credits.

If your humour skews towards the sick and twisted, then this box-fresh Child’s Play will give you one almighty kick.

Making his feature debut after directing a couple of Pixar shorts and co-writing Inside Out, Josh Cooley proves there’s life beyond the trilogy.

It takes more than two Avengers and the director of Fast & Furious 8 to make the MIB hip again.

Despite mostly sparky cast-work, the Phoenix never quite rises as hoped in Kinberg’s affectionate but often perfunctory X-Men send-off.

Godzilla: King Of The Monsters improves on its predecessor in terms of the kaiju carnage, but still can’t quite make you care about the humans underfoot.

A film to make your blood run cold, Nemes’ first-person account of life, and death, in a concentration camp contains horrors you can’t – and shouldn’t – unsee.

Egerton gives it his all, and there are moments of visual invention, but this largely formulaic rock biopic can’t hit the high notes.

Taking Don’t Look Now as a reference point, Gary Sinyor’s film is turgid, flabby and – despite some committed performances and great ideas – toothless, with neither tension nor bite.

Between its orgiastic carnage, orgasmic colours and very good dogs, Wick’s return gives hyper-stimulated action cinema a good name.

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

Not quite as good as Infinity War, but wears its three-hour running time with ease and rewards the fans. Part of the journey is the end, and this goes out with a bang that’ll make you whimper.

Hell, yeah? Hellish, more like. Despite its lead’s best efforts, this disastrous deboot is a gore-soaked bore.

There are thrills and feels but this reimagination of the delightful animation doesn’t take flight often enough.

About as funny and charming as superhero movies get. Expect it to make household names out of its title character and leading man.

Led by some fine performances, this is an impressive and intense example of how to adapt Stephen King.

Peele doubles down on his genre love with a flawed but full-bore frightener, ripe for debate. Nyong’o is incendiary.

A satisfying standalone launch for Marvel’s latest superhero combines sci-fi action with ’90s nostalgia. Overcoming minor stumbles, it ultimately soars.