This is a fine, fitting finale for the movies’ greatest mutant.

A satire of capitalist can-do thinking lurks in The Wrestler/Turbo writer Robert D. Siegel’s script, yet Hancock (Saving Mr. Banks) lacks the stomach to do full justice to its vision of the American dream plummeting into a nightmare.

Taraji P. Henson excels in a heart-warming history lesson that proves not only rocket men had The Right Stuff.

A murky mishmash of a movie, with the lightest smattering of glorious moments.

True, John Wick: Chapter 2 doesn’t quite hit the heights of the original – partly because the element of surprise when it comes to the fight-work is gone, partly because it lacks the emotional pull of Wick avenging his wife’s memory. But as badass B-movies go, this really gets the blood pumping.

Sensitive, subtle and heartfelt, Jenkins’ genre-buster is a significant work that will knock you out.

This stiffly scripted film never quite stirs the emotions.

Strikingly original, brilliantly acted, this serio-comic masterpiece constantly swerves expectations.

It’s as mad as a box of frogs, but a strain of melancholy romance adds emotional backbone to the gags, gore and kung fu.

Denzel Washington and Viola Davis excel in a well-crafted drama that’s sure to bring the late August Wilson’s words to a much wider audience.

An entertaining, if frenetic, vehicle for Arnett’s Bale-inspired Bats that packs plenty of laughs.

Skarsgård and Peña relish their roles, but this pitch-black action-com feels like 100 gags in search of a storyline.

Wiser, sadder but very much alive and kicking, T2 is a film that knows you can’t compete with the ghosts of the past. But at least you can dance with them.

Gibson returns to film’s frontline with a ferociously felt anti-war movie, while Garfield invests his Doss with tremendous conviction.

Amalric jigsaws the pieces, conjuring a taut, tense air of Chabrol as he does.

Lang makes an intimidating antagonist, but a silly final act ends things on a sour note

Wanted director Timur Bekmambetov stresses spectacle over subtext – and, effectively, leaves the cast floundering fast.

Mackenzie goes western in satisfying style, while Bridges, Pine and Foster bring true grit to Sheridan’s tight script.

Visually astonishing and touchingly told, Kubo is utterly wonderful.

Ellis has a real flair for action – the assassination scene is heart-stopping – but patchy accents, strange pacing and an overstretched budget nearly scupper proceedings.

Somewhat impressively, it’s even stupider than this outlandish synopsis sounds, with action that makes the F&F movies look grounded, “hip” dialogue that induces spasms of embarrassment and a shockingly casual disregard for human life.

Playing out in real time, Theo and Hugo offers a warm, frank, unexpectedly romantic view of relationships today.

Director Garth Davis’ debut is a touch over-stretched but impossible to resist – a classy crowd-pleaser with an especially magical first half.

Portman’s Oscar-worthy work crowns an unconventional study of an icon, while Mica Levi’s score is sublime.

This is a Shyamalan movie through and through. And it’s his best in some time, thanks to a magnetic McAvoy.

Just as daft as it sounds but not half as bad, this Alpine splatter-fest works surprisingly well thanks to the old-school FX, the creative death scenes, and a vein of self-awareness that never gets too smug.

Entertaining in its own way, though probably not in the way intended.

A-list sad-faces abound in a film where absurd concept is rivalled only by banal execution.