Anna Smith

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.

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

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.

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

Charming slice of small-town France.

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

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.

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.

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."

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

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

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

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.

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

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.

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

There’s a lot going on here: you never quite know what Maggie Gyllenhaal is going to throw into the pot next, but it’s always visually exciting and often funny.

Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved.

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

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

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

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

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

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.

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.

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.

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 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.

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

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

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.

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

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.

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.

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

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

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

This fantasy comedy should entertain its pre-teen female market – and repel those silly superficial boys (swoon).

A soapy but stirring romance with two committed leads.

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

Even with a starry cast, the stirring true story is this drama’s standout feature.

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

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.

It's overlong, but with its gorgeous cast, irreverent humour and beautifully drawn characters, this smart comedy-drama is the kind of movie Couples Retreat and Grown Ups should have been. Please, nobody let Adam Sandler anywhere near a remake.

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.

Strong turns from its female leads and Amanda Seyfried elicits more sexual tension from proceedings than "Jennifer's Body" ever managed.

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.

Bland, but wholesome.

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

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

Predictable and pleasant, with enjoyable performances.

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

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.

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.

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.

Lazy but functional tween fare.

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

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

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

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.

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

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.

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.

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

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.

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

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.

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

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.

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

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.

Sporadically amusing but rarely inspired.

"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.

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

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

Falls between romance and drama without really satisfying either.

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

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.

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

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

Fails on both an emotional and comedic level.

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

Occasional funny moments but this is very very thin.

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

From chases on boats to bust-ups on buses, the action and locations are fitfully engaging, but the story feels cobbled together and the dialogue is often painful.

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.

A lowest common denominator spoof.

This is one expensive folly.

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