Anna Smith

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.