Blending The Thing, Prince of Darkness, Hellraiser and Lovecraftian cosmic horror, this falls flat in suspense and characterisation, but ace ’80s FX – all liquefying latex – will delight genre fans.

If the result is unlikely to leave audiences bawling, it’s still a well-observed study of life and loss.

No huge surprises but finely tuned and fun, like the love-child of Gravity and Alien, with added popcorn.

This moving docu-portrait of former NFL player Steve Gleason’s battle with motor neurone disease is as much heartrending home video as it is awareness-raiser.

Viewing the heightened emotion and drama of adolescence with an unjudgemental eye, it’s a reminder that schooldays are always the best.

Sparse and intricate, it’s a study of judgement, of ‘honour’, of Emad’s own fragile masculinity; one paralleled cleverly by his role in a production of Arthur Miller’s Death of a Salesman.

A genre-blender imbued with style and substance. Magnetic and elusive, Stewart matches her director.

Jones and Oldman are on autopilot, while Costner grizzles like a sore-headed bear. Only Gal Gadot, as Reynolds’ widow, has any cred in this utter pap.

Beautiful and bold, rebellious and riotous, its sexual frankness puts E.L. James in the shade.

Filled with cherry-blossom gorgeousness and sentimental homages to small-town Japanese life, it's a film of quiet, telling moments, even when big revelations surface.

Even the devout, surely, will warm to Dormael's alt-gospel: one of compassion, oddball fish gags and cheerier skylines.

Tense and thought-provoking in equal measure, this is first-rate – a modern-day Dr. Strangelove played out on video screens.

It’s the most staggeringly detailed and impressively realised sci-fi location since James Cameron welcomed audiences to Pandora, and one of the few recent blockbusters to benefit from the 3D treatment.

The 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

A handful of sparky leads can’t help this superhero reboot find an appropriate tone. No no, Power Rangers.

Loud, ripe, violent, bloody and blackly funny, Free Fire cocks its gun right in your face. See it – and bring earplugs.

Avoiding the pitfalls of prurience and sensationalism, this dreamily photographed film reveals its young subjects to be vibrant and articulate individuals.

It lacks the subtlety of Night of the Living Dead, but deftly balances laughs and bloody thrills.

Subtexts about grief and revenge help anchor the plot, though the more decisive clincher is Lowe’s guiding imprint – a mix of scathing vernacular wit and genre savvy.

With lush visuals, intelligent performances and a lingering lyricism, this is an instant classic that cements Hunnam’s star power.

Skvortsov gives a scarily grim-faced performance, with biology teacher Elena (Viktoriya Isakova) increasingly beleaguered as the only one resisting him.

Fascinating story, flawed telling.

There’s Fassbender’s charisma, an unhinged Sean Harris and Tom Rowland music.

C+ gags and D- supporting characters sabotage the final grade, but a perma-livid Cube is the star pupil and the brutal playground punch-up doesn’t disappoint.

Kijak finds poignancy behind the pomp as he builds to a fist-pumping finale.

Certain Women won’t challenge Transformers 5 at the box office, but it’s a deeply affecting triumph.

A complex film that sidesteps every cliché. Paul Verhoeven and Isabelle Huppert are at the top of their game.

A delightful live-action recreation of a familiar fable. You’ve seen it before, but its spirit and pizzaz are pretty much irresistible.