Chris Hewitt (1)

Destined to be a big drinking game — take a sip when Broadbent bites his sandwich — but little else, this feels like a major missed opportunity.

With a confidence typical of its director, the last line of Inglourious Basterds is, "This might just be my masterpiece." While that may not be true, this is an often dazzling movie that sees QT back on exhilarating form.

A return to fun, and a return to form for the new version of the old Trek. The 13th Trek movie is also the second good odd-numbered instalment in a row. Lucky for some.

An efficient and no-nonsense depiction of the worst disaster in US oil drilling history, buoyed by excellent performances.

Compelling and powerfully acted, with just enough wrinkles to avoid the ghosts of gangster movies past. Depp's appearance might distract some, but it's good to see him back in the groove.

Extremely enjoyable. Although it’s a little tonally unsure, whenever Hanks and Hoffman are on screen, any misgivings are forgiven.

Even when the pixels threaten to overwhelm, Gunn finds refuge in his main characters. There’s plenty to enjoy here.

A ridiculously entertaining, perfectly paced, ultra-violent cinematic rush that kicks the places other movies struggle to reach.

Essential, enormous fun.

Often gripping, and elevated by Cranston’s superb central performance. But it’s hard not to feel like we’ve seen this before, often and done better.

An anti-Bond, the closest Cooke’s movie comes to an action sequence is when someone breaks into a mild run. But there’s real drama, and even thrills, to be found in this story of a very unlikely friendship that changed the course of history.

Like most of the recent exports from Apatown, Get Him To The Greek -- aka Russell Brand’s My Filmy Wilm -- is patchy, but home-run hilarious from time to time. If only it didn’t detour into darkness so often, this could have been a genuine treat.

The premise sounds like an off-Broadway play gone wrong. Far from it — this is extraordinary, vital, and fuelled by great performances.

With Better Call Saul about to come to an end, Odenkirk switches gears with admirable ease, anchoring one of the most purely enjoyable action movies in ages. It’s not quite a case of Nobody does it better, but it’ll do until somebody does.

Butler’s best star vehicle in years, what could have been a bombastic bunch of boulders is, instead, a refreshingly clear-eyed and compelling affair. One of the best disaster movies in years.

You can beat the house and you can break the bank, but sequels always get long odds on defeating the law of diminishing returns – yet Ocean's Thirteen just about pulls it off.

A little too derivative to truly stand out, but gorehounds will love it. Don’t a void.

Toy Story with a twist, this is better than it had any right to be. Hardcore horror buffs may laugh and scoff at the mechanics of some of the scares; the rest may never be able to walk past the window of a toy shop without crossing themselves.

Incoherent and inconsistent, this is a step back for Statham in his quest to become more than a cult figure.

An improvement on the last outing for Jackman’s not-so-merry mutant. If only it trusted enough in its unique setting to forgo a descent into aggressively awful formula.

Perhaps the riskiest mainstream movie in years, Vaughn’s love letter to spy movies may be uneven in places, but it’s ultra-violent, envelope-pushing, and fun enough to overcome the flaws.

There was much to dread about this new iteration of Dredd, but it's a solid, occasionally excellent take on the character, with Urban's chin particularly impressive.

This modern riff on Monster Squad is a very pleasant surprise, and so ’80s in spirit that it’s a shock one of the villains isn’t a giant Rubik’s Cube.

While it may blunder down the odd comedy cul-de-sac, Madagascar 3 is often inspired and very, very funny.

Still smart, still exciting and still action-packed. It's just a shame to note that, after promising greatness, all Spider-Man 3 delivers is satisfaction.

A very pleasurable surprise, with likeable leads, the right amount of gore, and some incredible near-the-knuckle gags that you can’t quite believe writer-director Forsythe even attempts, let alone gets away with. Far better than the 1989 Fred Savage-Howie Mandel movie of the same name.

Working off source material that is very different from its predecessor, anyone expecting a straightforward Shining sequel will be disappointed. This isn’t a gruelling exercise in pure horror. It’s odder and more contemplative, but worth checking in.

Although it’s like being assaulted by a jumping jukebox for two hours, Garth Jennings’ first animated movie has enough bounce and brio to carry the day. Immensely likeable.