Paul Feig makes a slight gear change for a slick thriller that’s best enjoyed with a martini in hand.

“YOU RIPPED MY FAVOURITE SHIRT!” Cage loses it in a bloody, druggy, superbly crafted revenge thriller. Astonishing.

The latest Halloween installment is fun while it lasts, but unlike its predecessor, it’s not a classic for the ages.

Chazelle broadens his horizons with this superbly detailed account of the Moon landing. Gosling and especially Foy are out of this world.

True, Cooper’s film could do with a tighter edit, especially in the second act, where it has a tendency to drag. But all told, A Star is Born is a big achievement: raw, romantic, tragic, and tumultuous.

What Black’s movie really has going for it is pace. It starts with a crash, followed swiftly by a bang and vast swathes of wallop. The relentlessness doesn’t allow you any time to catch a yawn, but it’s also not too conducive to tension or suspense.

Too rackety and hackneyed to scare, The Nun groans next to the likes of Hereditary. Only the moody, menacing abbey inspires the right levels of belief.

Running from entertaining to tense as hell, Layton’s docu-drama heist flick grapples with something that most capers can’t even begin to compute: consequences.

A retro science-fiction actioner with both brains and brawn – quite a lot of brawn, actually. Surely destined for cult status.

Emmanuel Gras’ film may be a doc, but with its luscious compositions and heart-rending score it plays like some post-apocalyptic Malick movie: thick dust storms, whispered prayers and an aching empathy for people scraping a living amid utter deprivation.

The farce is infectiously fun and visually joyous.

A low-key charmer, this lovingly-crafted, melancholic movie is a big, comforting hug of a film.

An innovative genre blend that overcomes its bagginess thanks to sharp character comedy and a wildly appealing central dynamic.

Furious, relevant, and funny as hell.

Living up to its billing as the most ridiculous film of the summer, The Meg is one to laugh at rather than with. Instantly forgettable, but undeniably fun.

McQuarrie brings grace and grit, and Cruise brings it, period. This quick-witted, fleet-footed franchise shows no sign of flagging.

Paul Schrader’s best for 20 years. A stunning study of one man’s flaws and an apocalyptic vision of mankind’s fate.

Macdonald leaves no stone unturned in this tremendous look at Houston, one that sheds real light on the singer’s psychology.

With inventive action and a gag-rate that bests most comedies, Ant-Man and the Wasp is the kind of slick entertainment you’ve come to expect from the MCU, with Rudd and Lilly’s winning double act at the centre.

Be sure to make family time for Bird’s flawed but dazzling sequel. “Superheroes suck,” says Violet. No, they most certainly don’t.

A robust follow-up, which carries the same brooding atmosphere and tension of the original. The young cast additions are also excellent.

Benson and Moorhead’s sophisticated sci-fi/horror features minimal SFX but more ideas than a TED talk. Uncanny, and uncannily good.

Foster and McKenzie thoroughly convince in the hands of Granik, who moulds a subtle, assured, and often powerful tale.

Simply doesn't have the original's magic.

After a first half that suggests franchise fatigue is setting in, Fallen Kingdom zooms in for some scarily good set-pieces.

A tour-de-force turn from Toni Collette powers one of the most affecting horrors in recent memory. Genuinely unsettling in a way few genre efforts are: you’ve been warned.

Far better than we had any right to expect. Thrilling set-pieces, spine-tingling iconography and a Han/Chewie bromance to savour.