[A] mesmerising film.

There is less depth to this film than a petrol station greeting card, but it’s essentially harmless.

Kingsley essays both authenticity and humour, but it’s often hard to know what’s steering the story.

Moore admits he’s out to “pick the flowers, not the weeds” and the end result is witty, moving and brimming with passion and purpose.

It’s not funny or inspirational, just loud and trite.

Rosi offers a simple, stark contrast between quiet moments of everyday life and tragedy as mass fleeing results in sunken boats, horrific injuries and death.

This furiously bizarre follow-up deserves full marks for throw-everything-at-the-screen entertainment value, but none for execution.

A gentle tale, tinged with melancholy told with all the loving attention to detail you expect from Studio Ghibli.

The Yellow Sea is overkill in every sense.

Should be called ‘The Funny Guys’. The Crowe/Gosling partnership drives Black’s lurid comedy at top speed. Enormously entertaining.

Tasked with brokering a peace between event-sized thrills, gaming lore and high fantasy, Jones embraces Warcraft’s world with laudable commitment: but when it comes to charging it with life, sheer bulk gets the better of him.

Bobin’s attempt to fill Tim Burton’s shoes generates a lively but ersatz sequel that only truly ticks when Baron Cohen and Bonham Carter are around.

The biggest X-Men movie yet doesn’t scrimp on carnage, but lacks the heft of Singer’s previous instalments.

Everybody in Everybody smashes it out the park, playing dreamers who exhibit a voracious lust for life as they quest for identity. Well, these actors might have found theirs – the next generation of leading men.

Sure, the core tale of personal redemption is standard stuff but Zak Hilditch’s breathless, batshit-crazy thriller tears through orgies, mass suicides and murderous rampages to conclude on a scene as moving and terrifying as the climax of Melancholia. Hold on tight.

As we’re steered from nightmares to raptures, the mix of horror, sci-fi, puberty fable and gender-twisting perhaps strains the narrative. But two certainties hold: it’ll stick with you, and Hadžihalilovic is in total command of her evolution.

When Abraham leaves the camera on Hiddleston and Olsen long enough to let them chew on their characters, the film offers flashes of something much more interesting: a handful of domestic scenes prove that the actors, not to mention Hank, would’ve been much better served by a ballsier script and braver direction.

With Streep on grandstanding form and Grant given a rare chance to show his range, this is an intelligent dramedy that moves and amuses.

This is Malick turning graceful, ever-decreasing circles, though there’s a thrill to seeing him traverse hotel rooms and studio lots, nightclubs and strip clubs, after a career wrapped up in the period and pastoral.

Both revealing and good-natured, its a very inviting exploration of one of the 20th Centurys major artists.

If there’s a risk of the Marvel ‘formula’ becoming stale, there isn’t any evidence of that here. Civil War isn’t just a damn-near-perfect popcorn crowd-pleaser; it doesn’t offer any easy answers for its combatants, or the world going forward. Team Cap or Team Iron Man? The real winner here is Team Marvel.

Taken as a throwback to the thrillers of Carpenter and Spielberg’s cinema of wonder, it is special indeed. Not least because it honours its influences and yet remains, first and foremost, a Jeff Nichols film.

With a wraparound narrative that never really strikes a balance between past and present, all that axe-flinging, ice-casting action makes a modest impact.

Animated with exceptional depth and beauty by co-directors Jennifer Yuh and Alessandro Carloni (and given epic new heft by Hans Zimmer in the orchestra pit), it's a rare ’toon franchise that can grow up so quickly and still giggle at its own butt jokes.

From niche subject matter, Fletcher's crafted a movie that's both universal but also unashamedly, gloriously British. Very funny, genuinely moving and endlessly good-natured.

While Batman v Superman has no trouble quickening the pulse, it’s less effective when it comes to making you care.

Wheatley, Jump, Hiddleston and co occupy Ballard’s towering inferno with brazen style. If the plot wobbles precipitously, chalk it up to the high-rise ambition of a genuinely wayward Brit-film one-off.

This over-extended teen dystopia is treading water, coming up short on its trademark punchy plotting, teen self-discovery and the wonderful Woodley.