FILM: Independence Day Resurgence 3D 4DX (dir: Roland Emmerich, 2016)

"This one is definitely bigger than the last one."

Like those pesky aliens returning for round two, it was simply a matter of when for the long-awaited sequel to Independence Day, and with Resurgence, Emmerich delivers a modern-feeling blockbuster that is a good, solid follow-up to the 1996 original.  Whilst this movie lacks the daft fun cocky swagger that the first film revelled in so typically of big 90s blockbusters, it has a more grounded straight 2016 approach but with some occasional nicely-placed knowing bits of humour, which fits effectively with the new characters' orphaned-generation theme.  Many are bemoaning the lack of Will Smith, but his character's absence is dealt with upfront, quickly and effectively, and the tone of this film is deliberately different anyway, and the cast is generally effective in performance.  Whereas the first film's narrative was as precise as a Swiss watch, this time it takes Idiot Plot for granted and relies on some now very familiar sci-fi tropes for new developments, but does so successfully.  It also takes the route of The Force Awakens, replaying key beats slightly differently and mixing an old/new cast, satisfying for both nostalgia and new viewers.  The alt-world fusing alien tech with Earth's own is interesting, and on the effects front Resurgence goes for scale and  awe, often to great effect. This is certainly no cheesy 90s romp with a narrative backbone of steel, but it is a strong, enjoyable modern sequel - and it is to be hoped that it finds a big enough audience to merit the next chapter set up at the end that promises to push the direction of the series even further.

FILM: The Conjuring 2 - The Enfield Case (dir: James Wan, 2016)

"Sometimes what we do requires a leap of faith."

The first film positioned itself as a demented and successful fun ride, and this follow-up is even stronger, for the most part less showy but very compelling and unsettling.  Viewers are put off-kilter from the start, watching a Christmas-set film released in June, but that is a minor issue compared with the extraordinary events that follow.  With the Warrens' involvement in the Amityville case as a starting point, here used in an interesting way, the also-renowned Enfield Haunting is given the full-on Hollywood treatment - this is certainly no documentary - to create an interesting and extremely engaging viewing experience.   Sound placement is hugely effective, the TARDIS-proportioned interior of the house gives plenty of scope for use of camera, and James Wan is a real master of framing and the sequencing of shots to wring out the maximum effect on the audience.  As Ed and Lorraine Warren, Patrick Wilson and Vera Farmiga are again excellent as a very unshowy but sincere screen couple, but at the heart of the film is an absolutely standout performance by young Madison Wolfe as the girl at the centre of the demonic activity.  In spite of the fictional gloss, the film raises questions about the Warrens and the real Enfield case that makes the viewer want to find out more, but as a piece of very well-made entertainment, The Conjuring 2 is a winner.

FILM: The Secret Life Of Pets (dirs: Chris Renaud and Yarrow Cheney,2016)

"The squirrels are taking over the world!  I knew it!"

Setting expectations very high with the endearing trailers, The Secret Life Of Pets partly delivers.  The hugely successful opening, largely reflected in the trailers and showing what pets get up to when their owners are away during the day, becomes disappointingly under-exploited as the film gives way to a more humdrum mid-section of 'getting lost in the city' and 'trying to find a way home' that is very reminiscent of Aardman's Flushed Away and trying hard to have the heart of a Pixar film but not quite getting there.  Nevertheless, there are plenty of good gags and effective slapstick, the film looks and sounds absolutely beautiful - a gleaming vision of an sunny autumnal candy-coloured New York, set to a retro-easy soundtrack - and the ending will put a smile on anyone's face.

FILM: The Boss (dir: Peter Falcone, 2016)

"It's old but it's comfortable."

Better than Tammy but nowhere near as good as SPY, this is nevertheless one of the more watchable films in which McCarthy - always better in an ensemble or with a strong co-lead - takes centre stage.  The admittedly simple idea (wealthy woman loses everything and fights back, discovering her humanity along the way) is stretched very thinly and feeling very familiar, but there are enough good laughs along the way to make The Boss just about acceptable.  The film is bolstered by a number of strong character performances both in straight and comedic roles, and Chicago is filmed beautifully; otherwise, the film delivers what is expected adequately.

FILM: The Nice Guys (dir: Shane Black, 2016)

"You were in the pool?  Why?"
"I had to question the mermaids!"

This is recognisably and comfortably a Shane Black movie, showing the writer/director at his most entertaining best.  Set in 1977(ish), all the elements - writing, directing, acting, design, soundtrack - are a joy from start to finish.  The balance between hard-boiled detective tropes and comedy is handled extremely well, delivering on both counts.   Russell Crowe does great character work with a sense of menacing glee, Ryan Gosling is simply a comedic delight, and a bonus is the sparky relationship between Gosling and his on-screen teenage daughter.  It is rare to see an entire cinema audience overtly enjoying a film together, but Shane Black certainly achieved that with The Nice Guys.

FILM: Me Before You (dir: Thea Sharrock, 2016)

"Wow.  Your life is even duller than mine."

Me Before You delivers exactly what the trailer offered: an unthreatening, mechanically-delivered generic grind that is very long and - flat pacing aside and some misplaced melodramatic moments - does nothing especially badly but fails to catch fire.  Get past the usual upper-class romantic fantasy twaddle and there are some positives: Sam Claflin does some very good work in the quadriplegic role, Emilia Clarke does some effective character building in a deliberately (and very successfully) irritating part, Craig Armstrong's score is pleasing and occasionally a little bite sneaks in, such as the family birthday party.  Otherwise, the film is a fairly relentless plod and the central relationship does not ring true, and as for female empowerment in a largely female-driven production, it is the male protagonist who is in control to the very end.

FILM: Warcraft - The Beginning 3D 4DX (dir: Duncan Jones, 2016)

"I beg your pardon?"

Crafting a single story from the sprawling game world, Duncan Jones has made a good job of creating an appropriate (but still dense) origin tale.  This is expensive epic high fantasy on a grand scale, all looking very familiar but extremely well mounted here.  A number of significant characters compete for screen time, some more successfully than others, with the Orcs given human-style relationships and leadership structures to make them more engaging (but still fundamentally bone-crunchers).  There are plenty of genre fanboy nods (from Game Of Thrones to Army Of Darkness, and the effects team seem to have bought a software job lot from the Harry Potter and Tolkien films), the film gets away with quite a bit of (fantasy) violence for its rating, and the committed cast sells this serviceable fantasy offering to good effect, even if the film never quite hits the heights of the Rings films.

FILM: Teenage Mutant Ninja Turtles - Out Of The Shadows 3D 4DX (dir: Dave Green, 2016)

"...and the next thing I know....Ninjas!....On motorbikes!...."

Two years on from the witless reboot, this second stab at Turtles is - surprisingly, and said with caution - a considerably better and far more enjoyable film.  The sequel has a much better story that actually has some internal logic, and immediately apparent is the fact that the titular quartet are not presented as stereotypical obnoxious and unfunny teenagers again, but here shown as differing personalities that actually enables some decent interaction.  The awful attempts at humour that persistently derailed the first film are still present (dim comedy sidekicks, Will Arnett's pompous self-proclaimed hero) but mercifully more contained and less intrusive. There is considerable bang for the bucks on-screen, with ambitious and often very successful CGI work together with dynamic and very well-staged action sequences that put some mega-blockbusters to shame, and the use of 3D and 4DX is genuinely effective.  Whilst hardly going to trouble the Oscar voters, Out Of The Shadows is a half-decent kids' action film that does much to restore the Turtles cinematic brand.

FILM: Money Monster (dir: Jodie Foster, 2016)

"Well, I guess that answered that question, huh?"

Only a few years ago, the pairing of Clooney and Roberts would amount to a major event movie, but even though those days have passed, Money Monster is a very strong vehicle for two absolute professionals giving excellent performances.  Here, the added bonus is another powerful and magnetic turn by Jack O'Connell to add to his ever-expanding CV, giving this relatively straightforward hostage thriller genuine tension and bite.  The big issues - high finance and the power of the media - are raised thoughtfully rather than hurled forcefully: watching Roberts 'direct' the TV studio hostage situation is one example.  As human fragilities are explored and exposed to good effect, Money Monster is a strong, thoughtful and tense thriller that is hardly the most original premise but is delivered most effectively.

FILM: Love & Friendship (dir: Whit Stillman, 2016)

"She has an uncanny understanding of men's natures."

Lensed and edited with a modern sensibility, coupled with rapid-fire dialogue and short scenes, Love & Friendship is a lively and engaging costume drama.  Kate Beckinsale is cast superbly in the lead role which she delivers with aplomb and relish, Xavier Samuel does well with the Darcy-lite character, and Tom Bennett gives a genuinely comedic physical and verbal performance as the witless Sir James.  The extraordinary pace commands attention, design is simple but exquisite, but above all this is a surprisingly funny and entertaining film.

FILM: Alice Through The Looking Glass 3D 4DX (dir: James Bobin, 2016)

"Time's up!"

This inevitable follow-up to the inexplicable billion-dollar box-office bonanza of Tim Burton's film does little to improve on the original.  After an arrestingly promising sea-bound opening, the flimsy time-hopping narrative has little traction, character development is minimal and nothing feels particularly involving for participants or viewers.  There are some truly wonderful visuals - Time's gigantic Gothic clockwork palace is a staggering 3D creation - but they only serve to highlight the fact that Lewis Carroll's achievement was with words and wordplay, not $170 million of bloated CGI and an undercooked script.