Ben Travis

Fast, fun, and full of freaky creatures, Strange World shows that Disney can do all-out action-adventure just as well as fairytale fare – while, hopefully, nudging the studio further towards the future.

The Michael versus Laurie showdown delivers — but for the most part, Halloween Ends is an unsatisfying closing chapter for this continuity. In trying to grapple with the horror beneath Michael Myers’ mask, it gets lost up its own abyss.

With Clooney and Roberts cranking up the charm, even the creakier elements of Ticket To Paradise are watchable. A warm, witty, welcome escape from reality.

It’s comedically uneven and overly distracted by side-characters, but when Clerks III gets to the heart of Dante and Randal’s decades-long friendship it’s enough to assure you that Kevin Smith is still open for business.

Despite being anchored by moments of real emotion and good performances from James Purefoy and Imelda May, One And All often feels like it’s taking on water while drifting further out to sea.

The action is first-class, and Brad Pitt and Aaron Taylor-Johnson are having a blast — but with all that hyperactive style and cartoonish violence, you’ll be ready to disembark by its final destination.

Weirder than Ragnarok, but incredibly sincere in its outlook, Taika’s Thor-quel is a big, beautiful blast. You’ll love it, and probably thunder it too. What a classic Thor adventure!

Despite its darker-than-dark premise — Abduction! Dead kids! Imprisonment! — The Black Phone finds hope in the midst of the horror. Looking for soulful scares this summer? Answer the call.

It’s not for everyone — and should prove more divisive than Host — but Rob Savage, Gemma Hurley and Jed Shepherd have done it again. Grab several friends, and prepare for a chaotic ride.

A pure firework display of technical bravado, wild invention, emotional storytelling, comedic genius, action mastery and outstanding performances, Everything Everywhere All At Once is everything cinema was invented for.

The Secrets Of Dumbledore doesn’t quite cast a Potter-like spell — but with solid action and moments of genuine heart, it delivers a little light in the Wizarding World’s darkest hour.

Well-performed, especially by Regina Hall, and directed with real flair and intention by Mariama Diallo, Master transcends its two-dimensional opening to become a complex, character-driven horror with much on its mind.

A daring, distinctive and downright delightful debut from Domee Shi, and a welcome change of pace from Pixar. Turning Red is, appropriately, its own beast — and one that’s easy to love.

Its title might be near-identical, but this legacy sequel is everything the original wasn’t — pleasantly gory, but light on atmosphere and really, really stupid.

A rare del Toro film that’s not an outright spook show, Nightmare Alley isn’t quite the filmmaker’s best — but it’s not far off, boasting an enveloping atmosphere, compelling characters, and gorgeous filmmaking.

For the most part, this is a ‘re-quel’ as fast, funny and ferocious as a Scream movie should be. In an era of elevated horror, it’s a gloriously gory basement party.

A sort of kiddie creature-feature with a big red heart, Clifford offers solid family fare with moments of throwback charm. Not quite a 12/10 on the WeRateDogs scale, but still a good boy.

Vibrant visuals, a stack of stellar songs, and a story with real heart make for another Disney banger. Sixty films in, the Mouse House still has that magic.

There’s a little bit more polish this time, but for all the talented people involved, Let There Be Carnage still has the whiff of a turd in the wind. 

An absorbing, awe-inspiringly huge adaptation of (half of) Frank Herbert’s novel that will wow existing acolytes, and get newcomers hooked on its Spice-fuelled visions. If Part Two never happens, it’ll be a travesty.

It’ll pass the time easily enough for young viewers, but everyone else will wish they were spirited away on a more sophisticated adventure.

Slickly produced but seriously stupid, Tournament Of Champions won’t exactly have you running for the exits — but your brain cells might not escape the room intact.

What could have been a mere IP cash-in instead becomes an unexpectedly cinematic crime-and-couture romp, delivered with the sort of style, snarl and eccentricity that Cruella herself would likely applaud. She makes being bad look very good.

Both a thrilling, giddy family adventure, and the solidification of a radical new visual language in feature animation.

It’s an audacious swing — but ultimately a miss from a pair of filmmakers who know exactly what they want to say, and haven’t yet mastered how best to say it.

Andra Day is excellent as the jazz singer struggling to survive in a hostile world — but the film around her can’t decide exactly what story about Billie Holiday it wants to tell.

Disney delivers a vibrant action-fantasy epic with another heroine who feels legitimately revolutionary.

Lara Jean and Peter grow up convincingly in a well-handled conclusion to Netflix’s hit trilogy, with a heart as generous as its charming central heroine.