Not quite magnificent but certainly Fuqua’s best since "Training Day" and a rare remake that actually delivers. Yee-haw!

A warm, witty and welcome return – intelligently evolved and an absolute hoot. As Bridget would say: ‘v.good’.

A road movie with heart, humour and a lead prepared to give his youthful co-stars their share of the limelight.

As in director Alexandre Aja’s Horns, the action alternates reality/fantasy to middling effect.

Magical and melancholy, tender and robust: rippling reserves of theme and style compensate for wobbly pacing in Keiichi Hara’s adaptation of Hinako Sugiura’s manga Sarusuberi.

Direction and cast pack a wallop.

An expert blend of world building, humanity, and the magical strangeness of Final Fantasy. Best of all, you don't need to know anything about Final Fantasy to love it.

All politics and posturing, the first two-thirds of the film are stiff and uninvolving, and although the climatic 45-minute free-for-all is genuinely spectacular, it’s clear where the director’s heart lies.

Informed, balanced and deeply humane.

The film flirts with near-offensive gags and attitudes, but there’s inventive use of forced perspective, even if the focus should be more on Diane changing hers.

There’s an undeniable charm here that, allied with the picturesque locations, results in a nostalgic throwback to a gentler age.

Starts off flavourful, turns rather bland. This Injustice League jaunt proves that DC is still a long way behind Marvel for on-screen action.

Those with fond memories of a gentler era of boy-and-his-insert-critter-here heartwarmers are bound to welcome Dragon’s old-fashioned vibe. But it still feels almost perverse to place all of Weta’s hi-tech wizardry at the disposal of a film so stubbornly, studiously lo-fi.

Leagues ahead of Legacy but the weakest of the Matt Damon movies, Bourne still has the power to thrill. But it seems his story has run out of steam.

The resulting drama offers a great showcase for Dyrholm, whose slide towards instability is the film’s core.

The result is so far-fetchedly entertaining it feels like a fantasist’s fevered imaginings. Which, in a way, it is.

Boasting a fantastic turn from Ethan Hawke, this is bold indie filmmaking. Budreau and his stars deserve a fanfare.

If the storytelling and English-language voice work are a bit functional, the visuals dazzle.

The Violators suffers from inevitable comparisons to Andrea Arnold’s Fish Tank, but is anchored by McQueen’s terrific performance in her feature debut.

Justin Lin proves a safe pair of hands at the helm of the Enterprise. Powered by a spirited sense of adventure and a nice teamwork dynamic, it’s fun, but not essential, summer viewing.

It never quite gets inside the head of its subject, writer/theologian John Hull. Thankfully, Hull’s observations – an audio diary – provide plenty of insight and engagement.

Uplifting it isn’t, but there’s poetry to be found in these desperate lives, and Riccobono never judges or sensationalises his subjects. Sensitive, if slightly unfocused.

For all its warm-hearted fun, well-crafted thrills, careful nostalgia and girl-powered gadgetry, this fast-paced family film doesn’t always feel like a natural fit for Hollywood’s favourite genre-bender.

It’s not without its moments, but more comic dexterity and less brute force would have made a less choppy watch.

It’s Carry On Up The Catwalk with TV’s favourite fashionistas. The perfect girl’s night out for the Mamma Mia crowd.

A shallow, slow-burn horror that takes an age to get to the strong meat but looks good doing it.

This might have been titled ‘Independence Day: Submergence’. It’s certainly hard not to drown in the sea of CGI, with the exponential increase of pixels being to Independence Day what the Star Wars prequels were to the original trilogy.

For all its attempts to expand the original’s ensemble and embellish its themes, Dory is cod in batter beside Nemo’s smoked salmon. But still tasty.