Ryan Reynolds’ sequel is bigger, more violent, filthier and surprisingly, much better than the first film. It’s a Marvel that they let him get away with this.

John Krasinski’s ingenious horror film is destined for greatness. It’s also one of the best scary movies of the last decade. You will be haunted for days.

We invented the movies, and through them, we travelled to worlds both familiar and unknown. We escaped. It’s what we do best. And Steven Spielberg knows where to take you.

This horror sequel is a throwback to the old-fashioned thrillers of the 1980s, but without the wit, scares or humour to warrant a recommendation.

A brighter, louder and more dumbed down sequel to Guillermo del Toro’s original. At the very least, it’s better than the last couple of Transformers movies.

Like his fellow Cannes winners, Thai maestro Apichatpong Weerasethakul and the great Turkish filmmaker Nuri Bilge Ceylan, Östlund is a champion of constructing long scenes that could work just as well as short films. He thrives on silences and discomfort, taking immense pleasure in throwing his characters in awkward situations and watching from a distance as they flail about trying to escape. Which is what Christian does in every scene of the film – from making idiotic attempts to retrieve his stolen phone to confusing even himself whether or not he’s still relevant.

It’s too comfortable supplying the bare-minimum to an audience it knows wants nothing more than that. And perhaps that’s fine. But that being said, it could so easily have been so much worse. Video game movies still have a long way to go, unfortunately. Tomb Raider is hardly the Wonder Woman it should have been, but there’s hope yet.

With 3 Academy Award nods, Saoirse Ronan, 23, is one of the finest actors of her generation. Lady Bird, however, can’t help but feel like the token nominee at the Oscars.

Like his previous movies, Three Billboards strives for such a microscopic sweet spot tonally that the fact that it not only finds it, but sustains it for two hours, is miraculous. It not only aspires towards greatness, but confronts it, screams at it, and when it has everyone’s attention, revels in it. It’s a profane and profound masterpiece that will evolve into a time capsule of sorts, when things get better. Bring your children.

It’s a film only Guillermo del Toro could’ve made – full of injustice, but also, crucially, decency. It deserves each of its 13 Oscar nominations.