Jennifer Lawrence shines once again in a fitting send-off for cinema’s best YA franchise. The hefty action and high stakes outweigh any shortcomings.

Colm Tóibín’s bitter-sweet novel of the Irish expat experience brought impeccably to the screen by Crowley and Hornby, with Saoirse Ronan excelling herself in the leaf.

McCullin emerges in David and Jacqui Morris’ accomplished film full of integrity, dignity and empathy.

Though not as dramatically rich or emotionally compelling as Skyfall, Spectre still ranks as a sleek, pulse-pounding if slightly overlong entertainment.

This fearless reconstruction drives home the dark lie that Lance Armstrong lived – it’s just a pity it doesn’t dig a little deeper.

A curious hybrid of grim fairytale and gory horror, del Toro’s ninth feature is striking but sorely lacking in surprises. Great ghosts, but del Toro is capable of so much more.

Part war story, part endurance test, this harrowing portrait of a young boy’s loss of innocence is gripping, gruelling, grown-up fare. That said, some judicious trimming wouldn’t have hurt.

Pulled from the news but punched up to fever pitch, Sicario represents the perfect mix of cerebral and visceral thrills. Star, director and screenwriter all bring their A-game.

Drawing on the testimonies of some fascinating interviewees, and filled with dazzling digital images of galaxies and landscapes, it’s a film that makes you ponder the mysteries of human existence anew.

Sporadically engrossing, its highlight is a brilliant recreation of an all-night dance-a-thon at that northern soul mecca, the legendary Wigan Casino.

Bleak as a morgue, even more brutal than the play, Kurzel’s stark psycho-drama can’t unseat its source, but is still mighty screen Shakespeare.

A patchy biopic that only thrills when Gordon-Levitt finally steps out onto the wire. Still, for all the 3D showboating, it’s a touching tribute to the Twin Towers.

As Peter Pan should be one of the ultimate wish-fulfilment heroes for kids, it’s baffling to see how he’s been appropriated for such an awfully middling adventure.

It’s a nifty idea – especially in terms of structure – but that’s about it, with Clarke’s direction proving as flat as his performance.

It’s also enlightening, the Spicers and us learning things about Tom that inform, move, humanise and suck us into his story.

A valiant effort that never quite scales the dizzy emotional heights required, running out of oxygen in the final act. Visually, though, it’s stunning.

It’s not iconic sci-fi to match Alien or Blade Runner but it is a topical, supremely crafted, intelligent, heartfelt spectacle with gallows humour to die for. Strap yourself in.

Scorch Trials ambitiously opens up its world with mixed results: gripping action, so-so script.

It’s flawed, yes – Frances is frustratingly underwritten, her psychological fault lines spoken of but never shown – but it’s also swaggeringly cinematic. And it has Tom Hardy vs Tom Hardy.

Famuyiwa’s teen pic mixes a cocktail of crowd-pleasing vim and political punch, lent charm and conviction by Moore – a star in the making.

Gomez-Rejon’s sardonic yet sensitive story of geek friendship is the best YA illness novel adap yet. And yes, you can stick that on the poster.

You root for them as they bond, bicker and endure grim dangers – gangs, traffickers, police – but Quemada-Díez doesn’t play soft, and the stinging climax really sticks with you.

Straight Outta Compton soars for an hour before spiralling into a bloated, melodramatic mess. Still, it’s worth it for the early ferocity, capturing just how powerful N.W.A really were.

Sweet, self-aware and silly, the new Vacation doesn’t destroy memories or alienate newcomers – but neither does it break the mould.

A once-in-a-lifetime subject, sensitively brought to the screen, the Angulos’ story makes the strange seem ordinary and the ordinary, insane.

While it lacks a memorable villain, and the central pairing fizzes but never sparks, the film gets by on its vintage charm and a third act upswing.

Pegg works wonders, but you’ll wish the concept had been pushed further, that there was more to the Pythons’ ‘reunion’ – and that Robin Williams had found a funnier swansong.

Amy Schumer is a force to be reckoned with – but despite some belly laughs Trainwreck doesn’t quite transcend the romcom formula like the best of the genre.