John Roebuck

The quality of Rough Night should be the base quality for every large (or larger) budget Hollywood film with talent of this calibre. But it isn't.

The Mummy is an example of how filmmaking is done in a scenario in which the filmmakers have the budget but not the capacity.

A perfectly cast Gal Gadot brings a wonderful depth to her portrayal of Wonder Woman, but is let down by a lacklustre film.

Joachim Rønning and Espen Sandberg's Pirates of the Caribbean: Dead Men Tell No Tales takes elements from the original and renders them creatively drained.

King Arthur: Legend of the Sword is not as bad as the advertising material would have you believe, but it's also not very good.

Alien was a masterpiece. Prometheus lagged under the weight of its own ambitions. Alien: Covenant is an uneasy weave of those two films.

The best Marvel films compel you to forget the industrial decisions that comes with Hollywood filmmaking. Guardians of the Galaxy Vol. 2 doesn't.

Featuring an absolutely unforgettable performance from Giulietta Masina, the Oscar-winning Nights of Cabiria is just one of many wonderful Fellini movies.

Get Out has an appreciation of the strengths of its genre and exploits them. It also recognised the genre's regular blemishes, and contradicts them.