A sweet-natured love story, well-intentioned, animated and acted, but lacking the depth of some of the studio’s greatest triumphs.

Rodriguez doesn’t take his foot off the gas for the entire 94-minute run time. There’s an action sequence about every four minutes and a plot twist every 10. In a world where so many films feel bloated and overextended, the frantic pace is highly refreshing.

Solid casting and scares mix with thin plotting and middling monster moves in Savage’s King riff.

Despite the leads’ chemistry, Carmen doesn’t manage to turn these sparks of brilliance into something bigger. The focus on dance over dialogue doesn't help a meandering plot that never feels like it’s getting anywhere. And while the Mexican/US border offers ripe context for political discourse, the script only scratches the thematic surface.

Anderson visits fresh frontiers with a close encounter of the quirky kind, holding wit, whimsy and sly wisdom in supple balance.

A sparkling, enchanting new spin that out-swims the original, with a pitch-perfect performance from Halle Bailey.

Weaving the Tulsa race riots, the KKK and the Masons into its tapestry, Scorsese’s opus questions the misdeeds of America in the last century while linking them to the pressing issues of today. Addressing racial violence, nationalism, the continued epidemic of missing and murdered Indigenous women and even our lurid obsession with true crime, Killers of the Flower Moon paints a robust picture of a moment in history that invites viewer introspection.

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

With a massive ensemble to play with and new characters to introduce, it’s inevitable that some cast members (Brie Larson’s Agency operative Tess among them) get a little shortchanged. But with Fast XI on the cards for 2025, there’s still time to shine as brightly as John Cena does here as Brian’s genially protective uncle: a retooled part that fits him far better than the nefarious one he took in 2021’s F9.

With writer/director James Gunn off to DC and some of its stars signalling they’re done with their characters, there’s an inevitable air of finality – not to mention contractual obligation – about this third instalment in Marvel’s Guardians series. If anything, though, that’s more a strength than a weakness, all involved being seemingly intent on going out on an emotionally affecting, thematically audacious high.

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

In an era when many schoolkids are more concerned about gun violence (in the US), cyberbullying and sending nudes than the seemingly more old-fashioned growing pains of who you are and whether the popular boy fancies you, Are You There God? It’s Me, Margaret. is a welcome, nostalgic throwback to simpler times.

It’s heartening to find Fox so fearlessly unhumbled by his condition and the mobility problems that come with it. One of the star’s stipulations before consenting to this film was that it would have "no violins". By its end you’ll be happy to give him the whole flipping orchestra.

Between bouts of partying and freeform dancing, newcomer Park Ji-min brings a near-musical virtuosity to this questing character piece.

What holds everything together and stops the film from sliding into a winking spoof is the intensity of newcomer Kansara’s performance. Her obsessive Ria drives the movie’s frantic pace with sheer willpower and scrappy physical courage

The fast and furious action is a bit plasticky, but the two starry leads bring some real sparks.

The electric, forthright How to Blow Up a Pipeline excels as both truly riveting entertainment and an energizing call to action, in part through the cleverness of its genre conceit: what could be a better fit for a story about collective action and fighting the system than a heist movie?

In Suzume, though, Shinkai goes full Ghibli, peppering his story of a teenage girl (voiced by Nanoka Hara) on a mission with oddball elements that would feel off-puttingly bizarre were they not incorporated so seamlessly within its epic grand design.

While it hardly stays with you like The Invisible Man, Renfield is a fun Friday night at the movies.

This easily surpasses Fede Alvarez’s overrated 2013 reboot and suggests there’s plenty more life – and death – in the franchise yet.

Like many an auteur filmmaker’s passion project, it’s a huge swing that doesn’t always fully connect, and one that undoubtedly peaks too soon. But at a time when safe-bet sequels, franchise extensions and movies built on brand recognition are more prevalent than ever, the fact that something so singular exists and succeeds on its own terms is something to be celebrated.

While it could use a few banana peels to slow its relentless pace, this adaptation is a faithful introduction to the Mushroom Kingdom.

There’s no questioning Skarsgård’s commitment to his character’s descent into depravity, while the gifted Goth is fearlessly uninhibited. But just because Infinity Pool looks good on the surface, that doesn’t mean it has hidden depths.

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

A full-on fourquel whose attempts to up the action ante yield frequently blistering results.

At the heart of both movie and boardgame is that deep sense of community and camaraderie, which bonds the quartet of misfits nicely.

Bigger, bloodier, blunter. Ghostface goes all-in for the kills in a brash but broad requel-sequel, sharpened by Barrera/Ortega’s ace pairing.

A propulsive thriller that’ll appeal to die-hard fans and newbies alike.