Angie Errigo

Political chicanery and psychological mystery entwine with some stunning underwater sequences but don’t gel entirely satisfactorily.

It’s absolute nonsense, of course, but does quite nicely as knockabout Friday night fun. We can smell a sequel if Travolta can be bothered.

Reasonably gripping.

Not one of Altman’s masterpieces, but aficionados will find pleasures in a bittersweet swansong from the grand old man.

There are brilliant, bewitching moments allied to hilarious and touching ones. Just not enough of them in what veers, at length, between the clever, the terrifying and the bit tiring.

Like Saudi Arabia's "Wadjda," Burshtein's film is a groundbreaking first - the first Israeli film to be directed by a woman - and although it lacks a little of the emotional heft of Haifaa al-Mansour's work, it's a well acted and delicately told tale.

Meat and potatoes teen drama.

Very amusing fun.

Far-out touches and liberal application of metaphor are compensated for by intensity and two mesmerising performances.

There may not be a laugh every minute, but there are enough to satisfy most devotees of the relentlessly silly, tasteless school of parody.

Sir Richard Attenborough's long-in-the-making account of the life of Sir Charles Chaplin is a film you desperately want to like, but it emerges as a big, shiny, old-fashioned biopic that ultimately fails either to illuminate the genius of its subject or to excite as a story.

Not Lee's finest but intriguing nonetheless.

We're marking time before the final battle between Good and Evil, with the promised darkness sitting somewhat clumsily with teen romance and humour.

It is a rare feat to make a sequel better than its predecessor but here Sonnenfeld manages to do just that. With such a strong adult cast, it comes as a surprise when the children steal the show. With such dry and morbid humour, it feels that at times he was filming more for the parental viewers than the childrens.

Formulaic but uplifting, positive and accessible. Fairly graphic sex is handled as tastefully as one is ever likely to see in a crowdpleaser.

It tootles along being cute and fluffy like a twentysomethings' version of Sabrina The Teenage Witch, but to further its notions of sisterhood and the power of women, it also takes a spin through Thelma And Louise territory, then revisits The Exorcist to up the supernatural content. It's enough to make your head spin.

It's all totally farfetched and skates imperturbably over several questions of logic that will spring unbidden to the most accepting mind. But it's entertaining, inconsequential fun.

It's like "The Bridges Of Madison County" with more shouting, only not nearly as good. No surprises whatsoever, but nice scenery, attractive stars and another credible, affecting performance from Lane that hoiks it up an extra star.

Tougher than a box of nails, this is a brassy revenge thriller that refuses to pull its punches.

Not quite Four Weddings-funny but always entertaining and endearing in equal measure.

At moments hilarious and others touching, it's a sweet, slight affair, more pretty pageant than pithy biographical drama. Expect awards nominations to stack up for Williams and Branagh.

This is brutal, gory, at times downright sickening stuff, and somewhat twisted types are likely to laugh like a drain.

Unfortunately, left alone on the big screen, distinctly thin characterisation and a plot that looks like a distended television episode, let the new crew down slightly but there are still enough classic moments to keep fans happy.

Cute, cute, cute. No bouquets for originality, but it pushes all the buttons of this mini-genre, and Heigl and Marsden ring dem bells.

The tennis itself is ridiculously far-fetched, and yet this may still be the best tennis movie ever made.

A very unfocused, sporadically funny film, lifted by its (predictable) visual splendour.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

Unnervingly, it is both hilariously funny and quite disturbing, with Allen's neuroses and fixations manifested in some shocking ugliness and intimately personal revelations we'd rather not have seen confirmed.