James Mottram

Anderson and co-writer Roman Coppola have great fun with the idea, channeling 1950s B-movie vibes. Like all of Anderson’s work, it’s very affectionate, even if every camera move appears to have been calculated with the precision of a mathematical equation.

A terrific thrill ride. With Ford in fine form, Indy’s last stand is a highly satisfying blend of action, humour and emotion.

An impish Peter and an enjoyable Hook shine in this comfy, occasionally inspired take on J.M. Barrie’s classic.


Smartly walking that line so that newcomers to this fantasy world and old hands who spent days playing the game can both enjoy, Honour Among Thieves is a satisfying romp. It’s a little formulaic in places, but on the flip side, it pulls some really weird moments out of its sack.

With the story lacking real jeopardy, the feeling this leaves isn’t quite fury, but it’s certainly apathy.

True, it’s a clever loophole the director has exploited, but that’s as far as it goes. Blood And Honey is a sticky mess of a movie.

From hook to pay-off, this is Shyamalan doing what he does best. A clever story, thunderously acted, carried off with élan.

It’s not a film for everyone, especially if you’re craving fast-moving action. But for Poe fans, it’s a grisly treat.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.

Swapping out historical accuracy for crowd-pleasing scenes of blood-curdling female empowerment, The Woman King is somewhat conventional as it plots its emotional beats, but it’s power comes from its rousing performances, especially Davis, who can knock a man dead with her stare, let alone her machete.

It’s not a naive film, but rather a hopeful one. Despite a world where darkness lurks, there’s light at the end of this tunnel.

Superbly marshalled by Gray, the ensemble cast is excellent – though if you had to pick a stand-out, it’d be Hopkins, as the kindly-but-principled grandfather. He casts a huge shadow over the film, a moral compass for all to follow.

Aftersun may be small in scale, but it leaves a distinct and lasting impression. No question, it’s the best British movie this year.

The film finishes with a dedication to him – although maybe there was no need. Wakanda Forever is, itself, a fitting tribute to him.

The Banshees of Inisherin is that rare thing: a film that will have you chuckling one minute, gasping the next. A story about what matters more – your legacy or your life – McDonagh has created a work of feckin’ brilliance.

If you’re looking for a good-old fashioned romp, stylishly made and frequently hilarious, this ticks all the boxes.

Clever, violent, and wicked, with a fabulously unhinged turn from Goth, West’s period psycho tale truly does have the X Factor.

A thoroughbred origin story and rollicking good adventure in one, led by an excellent Ralph Fiennes. It’s a hoot.

True, it has a tendency to meander and lands Last Night in Soho’s Thomasin McKenzie with an underwritten role. But at its heart is a brooding Cumberbatch, offering one of the shrewdest performances of his career. The Road’s Smit-McPhee also impresses, especially as his character grows more important in the film’s final, unexpected third.

Violent, gripping, darkly funny and deeply human… everything, in other words, you’d expect from a Sopranos story.

Scott’s usual scope and scale meet unreliable narrators for a thought-provoking tale of systematic abuse. In a classy cast, Comer shines brightest.

An astounding spectacle, vast in scale and ambition. Prepare to have your breath snatched away.

The film falters mostly with its disappointingly one-note female characters ... It’s a shame, for Reminiscence has some impressive ingredients floating around in its murky mix.

Another work that could really only come from Anderson’s relentless imagination: exquisite detail, eclectic storylines, superb cast.

There’s a lack of genuine emotional heft, not helped by some clunky dialogue (lines like "we are literally living on borrowed time"). But what the film really misses, amid several ear-splitting, CG-heavy alien-attack set-pieces, is humour.

The sticking point for some will be the bone-crunching violence, of which there’s A LOT. But if you can stomach that, then this ticks that dumb-fun summer-movie box nicely.

Classy work from director and cast, but an anti-climactic second half doesn’t quite knit together the incident and intrigue.

An exquisitely rendered period tale, The World To Come is a slow-burning but ultimately rewarding drama of the heart.