BLOCKBUSTERS are the order of the day in cinemas this week, with two more franchse big hitters joining last week's huge movies.

Pixar is going back to one of its most beloved worlds with a sequel to Finding Nemo and the dream team is back together as director Paul Greengrass and star Matt Damon look set to reinvigorate the Bourne series.

Here's the best and the worst of this weekend at the cinema in Dorset.

New releases

Finding Dory (Cert:U, 103 mins)

In almost every aspect, Finding Dory is the emotional and comical equal of its predecessor, dazzling the senses with stunningly realistic visuals and Thomas Newman's buoyant orchestral score.

The script effortlessly tugs heartstrings in between cute verbal and sight gags, including a running joke about the voice of an A-list Hollywood actress, whose dulcet tones become a shimmering beacon of hope in the film's darkest moments.

Finding Dory mines the central character's one-joke disability for gentle laughs without meanness or obviously treading water.

Set pieces including a frenetic chase involving a fearsome predator of the sea are nimbly executed and the introduction of Ed O'Neill's cranky cephalopod is a master stroke.

EllenDeGeneres' vocal performance exudes warmth and innocence, compelling us to root for her through a couple of the film's outlandish narrative detours.

Jason Bourne (Cert:12A, 123 mins)

Almost 15 years since the bullet-riddled body of Jason Bourne was dragged from the sea in The Bourne Identity, the amnesiac assassin returns with a vengeance in the fifth chapter of the action-packed espionage saga.

Director Paul Greengrass and actor Matt Damon return to their roles behind and in front of the camera, providing consistency to a series that has frequently put the exploits of James Bond in the shade.

The latest instalment delivers breathlessly choreographed hand-to-hand combat, dizzying chases and a jaw-dropping sequence of automotive carnage along the Las Vegas strip that - unthinkably - trumps the thrilling resolution to The Bourne Supremacy.

Like the lead character, who has been slowly piecing together fragments of his tortuous past, Greengrass' film is lean, muscular and bruising for a fight - to the death if necessary.

Still in cinemas

The BFG (Cert:PG, 117 mins)

No other filmmaker has successfully weaponised sentimentality like Steven Spielberg. His movies are glossy, potent slices of schamltz that never fail to not so much tug at the audience's heartstrings, but wrench at them brutally for two hours.

His latest sees him reunite with Bridge of Spies Oscar winner Mark Rylance to bring Roald Dahl's iconic Big Friendly Giant to life. It's a colourful, quirky tale set in a picture postcard Britain that is never quite sure of its time period.

Spielberg brings a real magic to the story, aided by his towering central performer. Rylance, spotted filming Dunkirk in Weymouth this week, is charming as the avuncular giant with a bizarre vocabulary and has sparkling chemistry with youngster Ruby Barnhill.

The plot is muddled and some of the CGI that incorporates Barnhill into the world is a little ropey, but this is an effortless hit from Spielberg, proving that, four decades after Jaws made his name, he remains a master of cinema.

Star Trek Beyond (Cert:12A, 122 mins)

JJ Abrams may have jumped ship to go and wave lightsabers around, but this threequel is very much Star Trek as we know it. Co-written by cast member Simon Pegg, it's a breezy sci-fi actioner with its tongue firmly in its cheek.

Gravitas is provided by Zachary Quinto's touching turn as Spock and Chris Pine's grappling with his future as Kirk. Karl Urban, meanwhile, thrives as Bones as he maximises the additional screentime.

Pegg's script has real wit and the jokes certainly come thick and fast. This does, however, hurt the film's stakes and Idris Elba's villain never feels like a plausible threat.

New director Justin Lin helms the film with a tonne of energy and it never sags, despite a lengthy runtime. It's not vintage Trek, but it can still boldly go with the best of them.