Understated but no less powerful for it, Causeway will remind audience what Oscar winning actors can do.

Chalamet might start off shaky, but once this splendiferous film is in the swing of things it brings out the classic Dahl magic... and menace.

[Robespierre] and Slate make a formidable, interesting pair together and I do look forward to their next venture, but Landline is a disappointing venture.

There is no denying that this adaptation tries to tackle the central themes, but for some reason, it never really comes together in a way that genuinely satisfies.

This slow burn family drama from writer director Ben Cleary, takes its time tackling some delicate questions. That Swan Song also holds up as a diverting piece of mainstream entertainment, only underlines the importance of Apple and its original content.

The Integrity of Joseph Chambers' is a staggering study of fractured masculinity.

Heche and Oh are both outright brilliant.

Lowlife is a dirt-nasty nonlinear debut for Ryan Prows, sewn together from vengeful, spite-driven tales of urban survival.

While the final result is a film that’s a bit rougher around the edges than it needed to be, Kingdom quite confidently seals the deal through the animus of Noa; a fantastic protagonist brought to life by the young Owen Teague, whose strikingly intelligent motion-capture performance suggests a wisdom for the craft far beyond his years.

Fantastic Beasts is both a slice of magical monster mayhem and severely underwritten storytelling, landing somewhere between “pretty passable” and “zany fun” – but certainly nothing fantastic.

Deadpool 2 is an overstuffed cinematic burrito of raunchy insults, dismembering violence and a "no f#*ks given" attitude that's ready to burst at any second, but somehow holds together bite after enjoyable bite.

There isn’t a moment in Mary Poppins Returns that I would put above the 1964 classic, but there also isn’t one worth throwing away in this magical, if formulaic production.

The film is sumptuously layered with a number of intersecting themes – the restrictions placed upon us by ourselves, and by society; the complexities of communicating with others; the nature of identity; the contrast of the social roles played by men and women; the vast difference between physical and emotional intimacy; the ebb and flow of the human experience.

Rogue One makes up for a shaky first act by punching into overdrive for an outstanding third act battle sequence that overwhelms in scale and intensity.

A United Kingdom is well-intentioned, with impassioned performances from Oyelowo and Pike, but it's executed as drily and inoffensively as so many middling Brit period dramas.

In an audacious departure which marks a new level of maturity, Edgar Wright invites audiences to strap in and enjoy his latest cinematic offering.

Ostensibly a tragic tale of out-of-control youth, White Girl collapses under its lofty ambitions, boiling down to little more than a retread of other, better films.

Olivia Colman goes with this franchise like bread and marmalade, but the 'Paddington' charm of yore mostly goes out the window.

Staying Vertical feels weighed down when it should be light, and ironic when it should be earnest. For better and worse, the film terrorizes conventional cinema without providing any good alternative.

Ultimately, Stars At Noon provides an interesting look into an important time in history for Nicaragua from the perspective of a French director who has no direct involvement with the reality she is representing. Unfortunately, the conventionally attractive hetero-normative romance between the leads, and the espionage shenanigans they get up to, are wildly uninteresting compared to the gravitas of everything that is going on in the background.

Ouija: Origin Of Evil would have been better than Ouija with even a quarter of the screams evoked, which makes the tremendous jump in quality quite refreshing despite derivative storytelling.

Overall, this isn’t a bad movie, just one that feels at odds with itself. Despite its flaws though, American Made is a fun enough ride and features yet another winsome Cruise performance.

Four powerhouse performances cannot quite make Richard Linklater's occasionally moving dramedy, Last Flag Flying, into more than a minor war movie.

Beauty And The Beast lacks some of the astonishing visual prowess of previous Disney live-action remakes, but still sings and dances with enjoyable style.

Scott’s latest is a thrill-ride that blasts through celestial carnage, while building a bigger Alien world that might not be 100% necessary. Out of all the films in the franchise, Alien: Covenant has the least stand-alone potential – but dammit if it’s not a wild, warp-speed-killing-machine adventure.

All in all, though it may not be totally awesome, The LEGO Movie 2: The Second Part is still fun, which is what it should be, and you’ll still leave with a song stuck in your head. Maybe even two.

Powell's screen presence is undeniable. Unfortunately, so is the lethal lack of confidence with which 'Twisters' tends to present itself.

A concrete horror flick that burns with consequence, ignited by strong characters who are far more tested in their experiences than anyone of similar age. Bloody, emotional and visualized with a damning spirit – what an outspoken genre manipulation for first-timer Michael O’Shea.