By Any Means is a rock solid crime drama, spearheaded to by strong performances and excellent chemistry between its two leads. It may tread a lot of familiar ground and could have had more depth to it, but its paced well and features jolts of intensity and action that keep it engaging.

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.

Resident Evil is without question the best video game adaptation we have had so far. The scenario of one dude having the worst night of his life trying to deliver this package is a perfect vehicle for a cavalcade of horrors. What a blast!

Etzler’s Bad Apples is a deliciously, uncomfortable ride, driven by magnetic performances in Ronan and Waller. It makes you laugh when you shouldn’t and squirm in your seat. Going in blind proves to be the best experience.

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.

Pressure is an interesting, tense, well paced and tight-knit war drama headed up by strong performances. It can feel a little repetitive in its presentation and structure, but it gets the job done with fascinating insight into this particular element of D-Day.

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.

If you’re not a lover of heights, consider yourself warned. Fall 2 is enough to keep any thrill-seekers white-knuckled on the edge of their seat.

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.

Drawn Together knows its target audience and gives them exactly what they’re looking for, a forbidden romance born from danger.

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.

Leviticus is a beautiful yet deeply unsettling film that targets a devastating societal reality. It successfully exposes the bleak, hatred-soaked foundations of institutional injustice while fiercely advocating for the simple acceptance these characters so rightfully deserve.