Nicholas Barber

I won't give away the ending, but there is very little in Disclosure that wasn't in the trailer – and very little that wasn't in Close Encounters almost 50 years ago.

The only real drawback is that when the film stops abruptly after just over two-and-a-half exhausting hours, it seems as if there's at least another hour of story still to come. But maybe that means that a sequel is in the works – and that we won't have to wait a decade for Na to make it. We can but hope.

Whatever you think of Jackson, he was driven to create spectacular and innovative entertainment. And yet the film has none of that spirit. It was clearly intended as a tribute to him as a person, but it's a grievous insult to him as an artist.

Maybe Lord and Miller knew what they were doing when they went for such a bright and breezy tone. They've crafted a sci-fi epic which is more than two-and-a-half hours long, and which is a one-man show for much of that time. They have filled it not with action, but with mind-stretching concepts, painstaking laboratory research and knotty technical puzzles. To do all that and keep things zippily entertaining throughout is an extraordinary achievement.

The strange thing is that, while the first Avatar seemed exhilaratingly futuristic, the third film seems like a relic of an earlier era.

It's true that many viewers have already fallen under its spell, but Zhao and O'Farrell have stripped away so much of what makes the novel magical – the time-travelling structure, the hypnotic prose rhythms, the internal monologues and the tiny, tangible details – that what's left is no more profound or authentic than any other costume drama set in ye olde days.

No other film this year will get more people talking, or more people crying.

More riveting than most thrillers, and more terrifying than most horror films.

It's touching to see this icon of athleticism and positivity in a melancholy film which asks whether training for a championship is really worth the effort.

No Other Choice isn't just Park's funniest film, but his most humane, too – and that's quite something for a comedy as violent as this one.