This is a tonal misfire, its characters cut down by a blitzkrieg of whip pans, CGI and thunderous percussion. And with Ritchie again rummaging in his increasingly threadbare bag of tricks, the result is a movie more jaundiced than jaunty.

Chastain stalks the corridors of power with steely aplomb in Madden’s coolly compelling incursion into House of Cards territory.

Sharper, meaner, and meatier than Prometheus, Covenant's weak narrative drive stalls its brutal good intentions.

[An] engaging if straightforward doc.

Dagg keeps things simple, but his jogging camera whips up the urgency and he’s well-served by Sutherland’s rangy physicality.

With the scares stealthy, Gavin’s parable draws power from the heart’s shadows: the climax may alienate some, but its audacity is earned.

It’s heavy-handed, but with such fine performances from the youngsters, aided by the ever-reliable Shirley Henderson (as a social worker), that it’s hard not to get sucked into this tragic tale.

The Guardians get a welcome return to the big screen, which despite many positives, fails to match the dizzying heights of the original.

Too slow for the mainstream, perhaps, this presents a disgusted worldview thats painstakingly plausible, however much we may wish differently.

Shot with a retro chic, their courtship is crisp, but there’s enough grit in this Cannes prize-winner to stop it floating away.

Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.

A very big, exceedingly dumb thrill ride.

The cinematography’s sumptuous, but pacing is very stop-start. Worse, there’s an aura of male entitlement, fuelled by the script’s uncritical reverence of its flawed philanderers.

A classy ensemble (Charlotte Rampling, Harriet Walter) supports Jim Broadbent’s amusingly tetchy lead, while youthful flashbacks evoke a mood of romantic yearning.

A ravishing period piece that simmers with sexual tension while pulling off some dazzling narrative gymnastics.

A rich, rewarding crime film, shot with real skill. Riz Ahmed confirms his status as one of the most exciting Brit actors of his generation.

It’s fascinating stuff, if all a little rushed.

All hot wheels and dick jokes, it’s fun but forgettable.

The solemn score, plucky Brits and nasty Nazis are all familiar, but there’s a lived-in feel that transcends cliché.

Immaculately poised but almost completely pointless, it moves from chin-strokingly pretentious to profoundly depressing.

Twists and betrayals add spice to a familiar cat-and-mouse tale, while director Kim Jee-woon handles spectacle and drama with equal aplomb.

A timely, inspiring parable of protest, directed with sinewy style and driven by Braga’s rock-solid lead performance.

Masterfully filmed in long takes, this slow-burner lays bare a world of systemic corruption.

André Øvredal (Troll Hunter) ruthlessly ratchets the tension – with no little assistance from Olwen Kelly, conveying menace without moving a muscle.

LaBeouf is committed, and it’s fun seeing him go toe-to-toe with Gary Oldman (as his boss). But amid Montiel’s jigsaw-like structure lurk some generic revelations. Disappointing.

Juggling heartbreaking frankness with uplifting scenes of love and solidarity, this is a sensitive exploration of family, faith and opposing cultures.

Inventive camerawork and a creepy (crawly) monster can’t save this messy supernatural horror.

“Prepare for Gar-mageddon!” Or worse: more Smurfs films.