A swollen budget, a mini-Big Lewbowski reunion, and top-notch digital effects fail to enliven proceedings in yet another ho-hum dragon chaser based on a YA novel.

The best sci-fi trilogy you’ve never seen amalgamated into one organic whole. Surprising, exciting and, at times, strangely beautiful.

Imagine all of D-Fens’ fury in Falling Down squeezed into one short, then times it by six. A gloriously crazed compendium that fizzes with OMG and OTT moments.

Vogt’s droll, daring meta-drama flows in subtle, surprising fashion. Petersen provides a magnetic focus for a mischievous, moving debut.

A competent rather than classic follow-up. If the action feels generic at times, the addition of Watts, more Winslet and the strength of Woodley are worth watching.

Loving and lavish, Kenneth Branagh’s take will please traditionalists more than revisionists, but there’s enough here to enchant both young and old.

Exhilarating and exhausting in equal measure – a decent approximation of how the characters feel – Mommy puts us through every setting on the emotional wringer.

A genuine disappointment, given the talent involved, and a rare misstep for Penn, who can’t save this moribund vanity project from flatlining.

Reynolds moves on from Green Lantern in Satrapi’s psycho-romp, pitched awkwardly between funny-haha and funny-peculiar, but blessed with enough style and smarts to merit a look.

Over-long, but a work of great artistry and emotion. As the woodcutter says upon finding our heroine: “A gift from heaven”.

A much-admired text is respectfully brought to the screen in a film that nonetheless struggles under the burden of its war movie clichés.

This genial, over-stuffed return boasts more national treasures than the British Museum. But tinny plots and predictable scripting mean it lives up to its title.

His state of mind goes some way to explaining the something-missing air of his last film, but it inspires to see how deeply he cares about his craft.

Hyena may be grim, but it’s also grimly engrossing in a way that gets under the skin.

Like its title character, Chappie is stunning to behold and easy to like, but it’s still some way from fully developed.

Misses the energy and vitality of Gregg Araki’s best work, but there’s more going on here than immediately meets the eye.

Moore gives a controlled portrait of emotional implosion, bringing quietly heartbreaking nuances to a calm, considered treatment of a life-shattering situation.

Detractors may carp that Cronenberg is showing us nothing new, but Maps is so flawless in its execution, it vividly refreshes the subject matter. Never overcooking the setting, it’s a story right in his wheelhouse; a very human look at characters barely clinging to their humanity.

With the story fit to burst with an Ocean's trilogy worth of hustles, tricks and grifts (some of them smart, others groan-inducing), at least Robbie is the genuine article – sharing playful chemistry with Smith, but ultimately stealing the movie from right under his nose.

Who let the dogs out? This is Homeward Bound: The Incredibly Harrowing Journey, with the feelgood payoff arriving after many feel-shit sequences. Well worth it, though.

A horror film that will haunt your waking hours for weeks. Every frame of It Follows is stamped with nameless dread.

Blending the mythical resonances of The Searchers with lyricism and bristly realism, Wolfe’s harrowing, haunting dispatch from Brit-cinema’s undergrowth is strong meat: emphatic evidence of a bold talent’s arrival.

Slick but overstretched, Predestination deserves respect for what it tries to achieve rather than dismissal for not getting there. Either way, you will not be bored.

Dakota Johnson is a revelation in an adaptation that’s better than it should have been. But with the sex scenes and the drama lacking the required heat, it’s ultimately unsatisfying.

The drugs don’t work – but thankfully Aniston does – in this slight but sly portrait of pain-meds hell, which wallows in self-pity when it should be grabbing our sympathy.

It won’t be for everyone, but Burgundy is rich, dark and could well lead to intoxication.

The predictable script lulls you into laughing at some very tired gags, but at least Hart refrains from screaming through the whole thing.

It’s no "Heat" but the niggles are easily forgiven given the virtuosity on show and the mood oozing from every frame. No one shoots faces, architecture and gunfights like Mann.