Cath Clarke

Into the Woods starts better than it finishes but it’s a great-looking film, with a nicely old-school, easy-on-the-CG feel.

The film is frantic and silly and our biggest gripe is that all the penguins look the same.

Jolie has assembled an A-list team – Roger Deakins behind the camera, the Coen brothers in charge of the script - but while her film is perfectly competent, it hardly dazzles.

This isn’t much more than a series of ridiculously dotty sketches, and might have worked better as a sitcom, but it’s surprisingly hilarious.

Even now at 50, Jarvis is a man who remains head-on crushable while dry humping an amp like your geography teacher on the Bacardi Breezers.

You’ll walk out of this electrifying documentary about the Arab Spring with your blood boiling.

While it definitely takes its foot off the action, Mockingjay – Part 1 goes deeper and darker.

In the end Horns is weird without being interesting.

Diehard romcom fans will have their socks charmed off, but this is no ‘Notting Hill’.

We don’t invest anything in either character, and with barely any tension, Serena grabs neither head nor heart.

Brad Pitt pulls along this gutsy, old-fashioned World War II epic by the sheer brute force of his charisma.

As a thriller, Before I Go To Sleep is perfectly effective, but while director Rowan Joffe keeps the twists coming, something about Kidman’s blank, frosty performance is unconvincing.

You can watch The Innocents twice and walk away with different conclusions. Psychological horrors have imitated its ambiguous ending ever since. Few have pulled it off half as creepily.

Entertaining but never quite thrilling, this actually feels like the second film in a franchise, coasting along, but saving the best bits for the next episode.

Wade’s dialogue is totally convincing, all in-jokes and boarding school banter... The trouble with The Riot Club is that dramatically it never quite comes together.

The 3D effects are dazzling, but the script creaks and the characters are thin.

It's dazzling and rambling, intimate and sprawling, and it's carried along by an infectious, off-the-cuff jazz score. As soon as it ends, you'll be dying to fly with it again.

Simon Pegg plays the world’s most unconvincing psychiatrist in this fluffy, irritating Brit comedy.

This sentimental Michael Caine drama is so dull that doctors could prescribe it to treat insomnia. What the hell, they could probably use it to medically induce a coma.

What makes it special is that it’s not another romance about finding a man. It’s about finding your people, about being a bit lost in your twenties and not knowing who you are or what you want to be. And it’s got bucketfuls of charm.

This snore-bore doc follows the year-long world tour of Kevin Spacey’s Old Vic production of 'Richard III’ directed by Sam Mendes ('Skyfall'). Critics dusted off all their big words to praise the play. But we don’t get to see much of it.

Like Restrepo, this troubling and thoughtful documentary asks tough questions.

Stick with it and writer/director Alice Rohrwacher’s first feature reveals another side: taking a small town as a microcosm of Berlusconi’s something-rotten-at-the-core Italy.

The film’s Groundhog Day-meets-Independence Day plot is actually pretty genius.

As arthouse coming-of-age films go, this is brilliant – smart and sensitive with a screw-you feminist streak. And it’s beautifully acted by two first-time actresses playing Eka and Natia, who have been friends forever.

Tracks might be a bit slow for some, but it’s one of those films that quietly creeps up on you.

The film can’t match the novel’s elegant, startlingly excellent Booker-Prize-winning writing, but a first-class cast (including Charlotte Rampling and Sinéad Cusack) make this an absorbing watch.

This Brit comedy has the watchability factor of a mediocre TV sitcom.