Anna Smith

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

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

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.

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

"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.

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.

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

This has charm and glamour but little profundity.

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

A solid watch for gore fans.

This Indian immigrant family saga is a pleasant watch, but given the emotive source novel, it’s surprisingly superficial.

Predictable and pleasant, with enjoyable performances.

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.

A soapy but stirring romance with two committed leads.

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.

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

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.

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.

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.

There's charm in this simple underdog tale, but clunky plotting and characterisation mean it has 'telemovie' written all over it.

A far-from-rosy life story makes this lengthy biopic entertaining, but despite a strong lead performance it fails to get under Piaf’s skin.

Bland, but wholesome.

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.

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

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.

Surprisingly watchable despite the formulaic teen format.

This has the power to unite a female audience ready and willing to overlook its supposed weaknesses.

Likeable stuff despite being slow paced and rather sentimental.

While the tone may shift from satire to farce at times, this is a highly assured debut by Rizvi.

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.

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.

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.

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

An amusing watch, this has a freshness and naturalism rarely found in the typically over-styled French romcom genre.

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 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 the quirky structure could be taken as a bold move, the story still feels frustratingly incomplete, rendering the preceding hour or so a tantalising glimpse at what could have been.

LaBoeuf is good, but his performance is – ironically – desperately serious, as is the tone of this film.

Superficially interesting in many ways but this doesn't really engage on a deeper level.

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.

Slow, ponderous, meticulously rendered realism that will appeal to specific audiences of slow, ponderous, meticulously rendered realism, with a heart.

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.

Undemanding, observant and beautifully performed, this is Richard Curtis-lite with added reassurance: no challenging questions here.

This family endeavour is an acting masterclass, and we should be grateful that it’s lured Daniel Day-Lewis back into acting after eight years in the metaphorical woods.

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

Not quite as nauseous as its plot might suggest, Little Manhattan is sassy as well as sweet.

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.

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

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

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."

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

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.

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

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.

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.

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.

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.

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.

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

A strong opening, bursting with wit and vigour, gives way to a predictable, patronising and immensely lazy second half. Could have been so much more.

Lazy but functional tween fare.

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.

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

The highschool hijinks may entertain the young, but those more familiar with the Bard will recognise this as a wasted opportunity.

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

It means well, but it's all just a bit too tired a formula - even by the standards of a kids film. Put this one in the top field to 'rest'.

This is one expensive folly.

Fun musical numbers and cartoonish humour give way to a bland sermon about the evils of the music industry.

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

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

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.

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.

Both the well-choreographed crash scenes and the gritty cinematography hint at a better film. Shame no-one took the time to make it.

Sporadically amusing but rarely inspired.

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.

Falls between romance and drama without really satisfying either.

Occasional funny moments but this is very very thin.

A load of formulaic nonsense that should still turn a few young heads thanks to its fantasy plot and Jesse Metcalfe's chest

Music And Lyrics never really finds its tone. Fans of Barrymore and Grant are likely to enjoy their pleasing ramblings, and the modern-day, down-to-earth courtship is handled well. But this is unlikely to go down as either actor’s finest hour.

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

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.

Fans of the Ramona Quimby books will be disappointed, but tween girls will love it.

If you're looking for a film to put you off marriage, children, affairs, and indeed life itself, look no further than this melancholic ensemble piece about listless adulterous couples in small-town New England.

This has the raw material for a decent rom-com, but the aimless structure and ambiguous tone undermine both humour and romance.

Fails on both an emotional and comedic level.

Poor script, poor direction and poor performances mean a dismal 70's disaster movie is the result.

Rubbish. Irish eyes will be hard pressed to grimace, let alone smile.

A lowest common denominator spoof.

Whoever demanded a third installment of Lawrence's mirthless mash-up of weak gags and cross-dressing horrors should be imprisoned and forced to watch it on repeat until they repent. Avoid.