Anna Smith

The Roses gets off to an enjoyable start, but like the marriage at its centre, the novelty wears off.

While billed as a psychological horror, it may be best approached as a dark drama or thriller, rather than a fully terrifying experience. But if you invest in its characters, it offers a thought-provoking insight into the depths of the human mind when faced with the laws of survival. It’s grim, but good.

As each character veers between confidence and awkwardness, it feels credible but doesn’t dig terribly deep.

Sorrentino is clearly trying to move with the times – even if he’s still most comfortable in the decades he’s depicting here on screen.

It’s a believable portrayal of the impact of gaslighting and brainwashing: Alice’s conviction that she’s at fault will resonate with many audiences.

The Score doesn’t always strike the right notes, but it has its high points thanks to a simple, rewarding romantic arc.

From Certain Women to First Cow, Reichardt has delivered some deep and powerful storytelling, and seeing her commit more fully to her lighter side is both refreshing and slightly frustrating by comparison. Still, Showing Up is an amiable watch that has something to say about power dynamics, the art world and our relationship with animals – who are used for all their symbolic worth.

Reminiscence has imagination to spare, but it doesn’t deliver the precious memories it promises.

It is an unusual mix of intense, angsty character-driven drama and laugh-out-loud jokes about the film industry. It’ll be best enjoyed by those who live in the milieu it depicts, along with fans of Amstell’s bittersweet wit – and there’s probably overlap between the two.

The kids and Caine are good, but this lacks the magic of its source novel(s). Younger children may enjoy it, but its attempts to entertain older viewers mostly fall flat.

If this energetic, fitfully funny version introduces the story to a new generation, heck, bring on a new ‘Sense and Sensibility’ too.

There's little tension or opportunity for emotional involvement in the brief story, and despite competent animation the cats are rarely anthropomorphised to good comic effect. One for anime - and animal - lovers only.

While this has its pleasures, it feels more like a doc you’d watch on terrestrial TV rather than seek out in the cinema.

It’s well performed and a periodically fascinating study of Bradford’s seedy underbelly that’s rarely seen on film

Don’t expect Austen-style humour, though: ultimately, you may be frustrated by a narrative that punishes its pleasant protagonist so thoroughly. But credit to Brizé and crew for an impressive piece of filmmaking with a refreshingly contemporary approach.

A charming animation with funny — if samey — moments and a quality voice cast.

If it's all a little too crowded with characters, Branagh’s pacy direction keeps the story zip along to a conclusion that’s tense even if you remember whodunnit.

More time could have been spent developing the bond between the men, but ultimately this is quite gripping: a weepie bromance. You don’t see one of those every day.

Geostorm is a watery blend of Armageddon and 24, with enough action to entertain on a basic level. It’ll probably be most appealing to scientists looking for a good laugh.

Tonally, it might feel a bit like a ’70s Disney movie, but visually, it’s absolutely up to the minute.

Macdonald, playing an outsider with wisdom, is by far the most sympathetic character; the movie has plenty to say about the parenting traditions of the wealthy, not much of it favorable.

It’s slightly frustrating that Winslet’s character Alex is nearly always the one who needs looking after, but the chemistry between them is good, the suspense sufficient and the ending gives you a gentle tug on the heartstrings.

There’s plenty of action—and laughs here and there—but when a repeated cameo from Elton John is the best thing in a movie like this, you know you’re in trouble.

This gets an extra point for an exciting action finale, but loses several for a hero who may try your patience well before then.

Home Again is too superficial to maintain tension as a character-driven drama, and not funny enough to overcome an aimless plot and confused tone.

Liman mines the story for familiar but fun comedy...though it never reaches the comedic heights of rise-and-fall classics such as Goodfellas or The Wolf of Wall Street.

The Hitman’s Bodyguard is not exactly killing it, but coasts on the charisma of its central stars.

The Wall isn’t a terrifically exciting thriller, but it’s thoughtful and fitfully suspenseful – a lean, character-driven and quietly rewarding film.

The film’s bouts of slapstick and sentiment sit slightly oddly with its downbeat tone, but if Wilson isn’t entirely consistent as a character, Harrelson is consistently funny – and if anyone can make a sociable misanthrope believable, he can.

Hard to root for but mesmerising to watch, Sloane is expertly portrayed by Chastain in this dialogue-heavy lobbyist thriller that should please fans of both actor and genre.

Overlong but slick, this still gets away with simplistic dialogue and characters, perhaps because it doesn’t take itself too seriously.

Vikander and Fassbender are riveting in a handsome period drama that begins beautifully, but becomes increasingly contrived as it tries to wring as much drama as possible from its set-up.

Giant expectations may lead to tiny disappointments in this two-hander that’s slow in parts. But it still offers magic and visual delights, and the final act is a treat.

A fizzy, funny, period dramedy with top-notch performances, Florence Foster Jenkins doesn't take many risks but it's a very entertaining experience. And yes, she was that bad.

Heather Graham and Maika Monroe add heat to this handsome, slow-burning thriller that lacks the urgency of Bahrani’s previous effort, "99 Homes."

It's hard not to be seduced by this folky yarn.

There’s too much going on and too little character development for this to become a Christmas classic.

It’s still a giggle, largely thanks to Tilly’s cantankerous mother (Judy Davis) and the camp local cop (Hugo Weaving).

Sterling performances lift the occasionally soapy storyline in this semi-successful adaptation.

Not all of it works but it does breeze along, thanks to its likable characters and dry wit.

A soapy but stirring romance with two committed leads.

The London scenes are fine but the guys seem far too relaxed in Miami considering death is looming. And we’re given no reason to root for them other than that they’re young and good-looking.

An impassioned, fly-on-the-wall look at a serious social issue.

No surprises here, nor many laughs, though the romance has a simple, sentimental appeal.

Kid-friendly with some neat visuals. Adults will appreciate the dulcet tones of Frasier as the Tin Man.

Sensitive performances from a willing cast bring Zola's novel to life on the big screen.

Instead of updating the genre, The Other Woman rehashes it, bringing little more than a few giggles and a dash of glamour to the table.

The by-the-numbers plotting is a little clunky but there's fun to be had in the cast's easy chemistry.

Six Feet Under scribe Jill Soloway offers a wry perspective on married life as Temple's stripper-with-a-heart is lobbed into this domestic yarn like a firecracker in an arms cache.

The characters could use more depth – Vincent’s backstory is told too swiftly, and his bonding with Ava is brief. But it’s still a smart, thought-provoking little thriller with strong central performances.

The joke wears a bit thin and performances vary: this isn’t as slick as the teen movies it draws from, such as ‘Clueless’ and ‘Mean Girls’. But an original premise and earnest tone go a long way.

Story aside, this is about the gags, songs and then more gags. On the upside, the jokes are great: the usual jolly mix of character humour, situation comedy, farce, satire and wordplay.

After a creaky, clichéd start, Need for Speed picks up a bit. The script is still as corny as hell, but the chase scenes are pretty spectacular.

A flowerier adaptation of the Scott Spencer romance than Zeffirelli's '80s version, it's tailor-made for the Nicholas Sparks crowd.

It’s predictable and troubled by continuity errors, but as undemanding romantic comedies go, it’s a pleasant enough watch with a heartfelt script from debut writer-director Tom Gormican.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.

Some developments seriously stretch credulity and the dialogue doesn’t always ring true. But the performances — including a sinister, matronly Kerry Fox — are as enjoyable as the tawdry film noir vibe.

Kids should be game for the ride, and the colourful characters offer humour and poignancy: Paul Giamatti’s cautious snail Chet shares a sweet friendship with reckless Turbo. Comparisons with Pixar’s ‘Cars’ are easy to make, but that’s no bad thing.

The Kids Are All Right writer Stuart Blumberg's first directorial effort is a frothy affair with typically strong turns from Ruffalo and Paltrow.

A solid watch for gore fans.

1D in 3D: the closest thing to a Shine A Light for Directioners.

Seyfried is fine but has little character depth to work with: Sarsgaard impresses with a more complex character, as does a barely recognisable Sharon Stone as Linda’s bitter mother. If only the whole film were as well-rounded.

While it’s not a crossover classic, this has enough wit and charm to entertain both big and little people.

Despite some strong moments, Ginger and Rosa fails to really convince.

"Salmon Fishing In The Yemen" and "Chocolat" man Hallström is an old pro at navigating this kind of undemandingly dramatic yarn and does a pretty fine job with Sparks' story.

A frothy and often charming directorial effort from Hoffman, his first in a Hollywood career that's spanned five decades, that will keep Downton fans happy.

Nail-biting and genuinely heartbreaking moments mean it's emotionally involving, even if it isn't the cheeriest drug dealer saga in town.

Lightly humorous, well performed and not nearly as smutty as you might imagine. The earth may not move, but there are tingles of pleasure along the way.

A moving drama set against beautiful Latin American backdrops - just don't expect fireworks.

Greg avoids the curse of the three in the third outing for the Wimpy Kid. Hardly groundbreaking but plenty of fun for its target audience.

As awkward as McGregor's geeky hero and almost as confused as the titular plan, Salmon Fishing is still very likable if you're prepared to take the bait. And it might even be Scott Thomas' funniest turn since "Four Weddings And A Funeral."

A tender, sensitive French drama rich in hazy atmosphere.

A simplistic portrayal of historic race relations boosted by terrific performances from some of the best actresses working in Hollywood today. Sure, it's corny, but it mostly works.

That innocuous title disguises a Mexican thriller with genuine bite, though the hokey ending doesn't quite live up to the edgy plotting and Sigman's classy turn as a tough heroine in an impossible situation.

This coasts along just fine thanks to charm and comical interludes, but it fails to deliver the sassy story it promises. Fine for a romantic comedy, but an inferior follow up to director Gluck's edgier "Easy A."

With good performances and characters, Beginners is an enjoyable, amusing and occasionally poignant watch. Indie film fans will want to catch it, but it falls short of being a must-see.

A toe-tapping triumph for dance fans, though less so for non-converts.

Like a Gallic "Nine To Five," Ozon's comedy is a uniquely French skew on the gender politics of the home and the workplace. It's mostly funny, fast and fondly made although it drags a little towards the end.

Charming slice of small-town France.

A low-grade comedy that'll have Jonathan Swift turning in his grave.

Light and entertaining, if a little clunky at times.

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

It may not be as daring as Young Adam, but this is a well-performed adaptation of an absorbing melodrama.

Paltrow does an excellent job as the shy loner, affecting youthful, sulky mannerisms without resorting to stereotype. Anthony Hopkins, meanwhile, brings both gravitas and dark humour as Catherine's mentally ill father, while Jake Gyllenhaal makes for an effective, if buff, maths geek.

The Stolen doesn’t dig too deep into its characters, so it’s not the emotionally devastating watch it could have been. But it has something to say about a penniless woman’s plight in the era, and it’s engaging and refreshing on several counts.

The gags swing between mildly inventive and screamingly obvious, but even the latter are performed and timed well enough to draw a laugh.

Amused, maybe - but you won't be seduced.

Despite the talent on show, there's little to distinguish this from any other bland family comedy.

Money can buy you happiness in this inferior remake - although its makeover storyline may please fans of "The Princess Diaries" et al.

There’s little interest in probing characterisation, but the plot progress is steady and the performances likeable.

This glimpse into a decadent era has its charms, but they’re mostly visual. While Pfeiffer and Friend perform well, the script is tonally confused and lacks edge.

A very superficial look at what it may be like trying to romance someone on the autistic scale.

The song and dance scenes are hard to beat in terms of sheer energy and atmosphere, but the dramatic storylines leave several loose ends.

Attempting to encompass too many genres dulls the overall effect but this still commands a certain fascination.

Touches on some interesting philosophical ideas, but it's poorly-produced and unclear in tone.

Illuminating as to the reality of being a victim of crime in a dangerous society but not exactly absorbing entertainment.

There's a good film in here somewhere, but it's buried under a messy structure and unclear direction.

It's poetic, hypnotic and well-performed, but fails to either draw out its characters with conviction or fully draw its audience in.