"Dunkirk" has a rival in the intensity stakes. Expect Bigelow’s deep-cutting drama to be part of the conversation come awards season.

Mixing a rom-coma into the romcom, this smart, sweet and highly personal love story finds a winning formula.

Haunting, thrilling and emotional, Dunkirk is a prestige pic with guts and glory that demands multiple views. Especially in IMAX.

Pixar’s least essential franchise gets back on track with a polished but disposable threequel.

Jean-Pierre Léaud effortlessly summons up the iron ruler inside the failing man.

An intriguing insight into Lynch’s genius, intimately crafted and leaving you wanting more.

Witty, menacing and steamy (in every sense), The Beguiled is an intelligent update and Coppola’s best work to date. Oscars await.

What keeps gratuitousness at bay is Zhangke’s controlled style and empathy for the have-nots

Hilariously infectious and full of hope, Spider-Man’s return to Marvel couldn’t be more welcome.

Madame Bovary meets Thérèse Raquin with a splash of Lady Chatterley in a pared-down drama that packs a real punch.

Occasionally rambling, it’s kept afloat by an eclectic soundtrack and Christopher Doyle’s striking urban lensing.

Crime, romance, fast cars, hot tunes... slicker than your chrome hubcaps, Baby Driver is the summer’s coolest movie.

An exquisite portrait of Hiroshima before the bomb that conjures a powerful sense of what – and who – was lost.

This solid if unspectacular finish to the Apes trilogy features an A-game Andy Serkis and incredible VFX, but its darker excesses threaten to suffocate at times.

By now you know exactly what to expect from a Transformers film: undeniably epic action spectacle at the cost of character, logic or genuine drama. Predictably formulaic.

An old-fashioned romp through the eccentricities of the upper classes, it’s a fun mystery with a nicely filthy mind.

Fukada contrasts understated realism with haunting, dreamlike images. Unsettling and morally complex.

Irish politics made accessible with the help of a playful script, two fine performances and 11 years of hindsight.

While there’s little here to jangle the nerves, The Mummy does wrap up enough adventure, action and quips to make it, if not a scream, a worthwhile Friday night out.

The characters are unfailingly polite, whatever their grievances, and there isn’t a single false note in this generous, affectionate portrait of people making the best of their situation.

Beautifully animated, scored and written, Barras’ little movie has a big heart. C’est fantastique.

Sabine Krayenbühl and Zeva Oelbaum’s elegant mix of voiceover, archive footage and talking heads lets “the female Lawrence of Arabia” largely speak for herself, illuminating the pivotal role she played in shaping today’s Middle East.

Gadot is a godsend, Pine charms, and Jenkins delivers old-school thrills with heart and conviction.

Violence seems inevitable but Von Horn plots cause and consequence with patient precision.

Unfunny, unthrilling and unsexy, this doesn’t even reach the low bar set by the source material.

Dudok de Wit and Ghibli have birthed a pan-continental marvel: a fable-cum-fantasy of a life adrift, aching with tender beauty and awed by nature’s extremes.

The pacing is spot-on, the set-pieces memorable and all the characters are allowed to shine, without it ever becoming The Johnny Depp Show.

A rib-tickling homage to the gumshoe shows of yesteryear, with an endearingly daffy mindset.