Shaun the Sheep: The Beast of Mossy Bottom is a competent, good-looking, minor entry from Aardman. The craft is still high and small children will likely have a fine time.

Hope is a complete blast of a genre-bending action-horror-sci-fi-comedy creature feature from Na Hong-jin. Despite the excessive runtime, it moves at a breathless pace, packed with endlessly well choreographed action-scenes with extraordinary stuntwork, gore, absurd comedy and a likeable ensemble of memorable characters.

Runner is formulaic and tonally messy, yet Ritchson and Wilson’s odd-couple chemistry plus Waugh’s committed, often brutal action make it an easy, satisfying watch.

Oasis: Don’t Look Back in Anger is an electric, well-made, emotionally effective record of a massive cultural moment that stops short of exploring much negative confrontation. As a concert film and a celebration it works. As a documentary about the Gallaghers feud and what it actually took to get this reunion to happen, you won't find that here.

Welcome to Raccoon City does at least retain the basic plot, characters and locations from the films, but execution from Johannes Roberts is unfortunately, a whole other matter.

An aggressively awful end for the franchise and among one of the worst video-game films put to screen. A lazy, cynical and fundamentally broken finale that doesn't feel like a real ending while handing in some of the worst ever edited action I have ever had the displeasure of watching.

The Shards is a handsome, well-cast, frequently stylish series that guttingly misunderstands or simply discards what made the novel distinctive.

Plot-wise it may just be filler leading into the final film, but it is packed with stylishly over-the-top action, varied visuals and Jovovich actually putting in some effort again. High-art? Again, absolutely not. Brain-rotting fun? Hell yes.

Resident Evil: Afterlife is a colossal low for the franchise as a whole. It's not even Resident Evil anymore, it's just a loud, dumb and exhausting sci-fi action film.

Resident Evil: Extinction is a step-down from the previous films. Still dumb and has some fun with its Mad Max style setting, but it's starting to take the stupid story of Alice a bit too seriously.

With Raiders of the Lost Ark returning to cinemas for a one-week-only re-release, there’s no better time to revisit the highs and lows of this iconic franchise. Here's how we rank the Indiana Jones films.

Resident Evil: Apocalypse, like the first film, this has weirdly high rewatch value if you’re in the right mood. It's pure early-2000s studio trash cinema, and sometimes that’s exactly what you want.

Resident Evil (2002) remains a weirdly watchable and entirely unfaithful adaptation. A brainless and dumb B-movie with a lot of style, fun moments, and a strong lead in Milla Jovovich.

The Death of Robin Hood is a joyless, dull and often laughably edgy take on Robin Hood, one that often dips into what feels like a parody.

A solid throwback buddy action-comedy carried by Branagh’s excellent work, some sharp action and enough genuine chemistry to overcome its more formulaic instincts and Reynolds’ usual bag of tricks.

The Runner is exactly what it appears to be: a silly, efficient, low-ambition real-time thriller that knows what it is, and quite literally, runs with it.

One Night Only doesn't always flesh out its absurd premise of “The Purge with sex” the best it can, but it does make way for a charming, funny and very easy watching rom-com. Monica Barbaro and Callum Turner make for incredibly likeable leads with great chemistry in a one crazy night story that mostly lands.

A few funny moments and a brief run-time keep Spa Weekend from being a total wash, but it's mostly just a tame, formulaic and deeply forgettable comedy.

Unfortunately, The Dog Stars does so little to actually stand out against so many other post-apocalyptic films, as it hits every beat you would expect with little to no surprises.

Sunny Dancer is a sunny delight. A very strong outing from George Jaques, giving a unique and fresh spin on the coming-of-age genre in a warm, funny and gut-punching crowd-pleaser.