Anna Smith

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.