Chris Hewitt (1)

A lean and mean throwback of a thriller bolstered by excellent performances and first-class filmmaking. Occasionally bites off more than its CG budget can chew, but when director Taylor Sheridan keeps the action grounded, it’s sweaty palms central.

Not so much bad Bad Boys, more good Bad Boys. And not so-bad-it’s-good Bad Boys either. Instead, this is comfortably the best entry in the series to date. Which isn’t bad.

So insubstantial it may not actually exist, The Mule is very much the latest in a long line of minor Clints. But it might help pass the time on long journeys. Just make sure you don’t watch and drive.

Proof that when you aim for the stars, sometimes you find a black hole. Hopefully just an anomaly for the usually wonderful Gervais.

A decent, if inessential, take on one of Stephen King’s best novels. Sometimes original is better.

Broader and more accessible than either "Shaun Of The Dead" or "Hot Fuzz," Paul is pure Pegg and Frost - clever, cheeky and very, very funny. You'll never look at E. T. in the same way again.

Turn off the snark-o-meter, and this is a return to form for Marvel, introducing a new hero we'll be happy to see again in, oh, about a year or so.

While it's neither as dark, funny nor peculiar as you’d expect from Tim Burton, there’s still much here to admire.

Another all-kicking, punching, shooting and exploding dose of Besson born action, and Jason Statham proves that his action mettle in the first instalment was no fluke.

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

A surprisingly rose-tinted look at a subculture that really should have been stamped out some time ago.

A fast-paced, entertaining, if somewhat on-the-nose mélange of thriller, satire, and drama, this is Jodie Foster’s best movie as a director. And we’d happily watch any TV show George Clooney wants to host.

It's no Anchorman, but it's several steps in the right direction.

It’s often enjoyable, occasionally very funny, and has an energy and verve sorely lacking from Fleischer’s last few films. So, while it’s simply, plainly, not as good as the first movie, Zombieland is no longer the odd one out on Fleischer’s CV.

The Fannytastic Four leave us on a poo-flecked, piss-soaked, sun-burned high that more than overcomes its familiar flaws to become a real contender for the year’s funniest film.

Genuinely sweet and endearing Murphy film, at last.

Time will tell if it’s worthy of being talked about in the same breath as Easy A, Clueless, Booksmart and the like, but Amy Poehler’s teen comedy is smart, funny, likeable and winningly performed. Moxie by name, moxie by nature.

Often beautiful but wildly inconsistent, Australia is none more Baz Luhrmann, which perhaps says it all. Worth a look on the big screen, though.

Fans of the original won't be disappointed, but ultimately it's just another decent, arguably unnecessary, '70s horror remake.

An unexpectedly entertaining mixture of good, clean Disney fun with some rather more modern action scenes, lent charm by Johnson’s natural swagger. One of the better family films in a while.

There’s nothing wrong, of course, with sci-fi films asking Big Questions, but the delivery doesn’t have to be — should never be, in fact — this tedious.

This hard-edged action thriller may not match the original, but Washington’s McCall is a compelling character, the kind you’d quite happily like to hang out with whether he’s busting heads or painting walls.

The votes are in, and it’s official: this largely unfunny paean to Eurovision is a waste of some serious talent. At least some of the songs are decent.

An energetic but erratic film that straddles about a dozen genres at once, none of them that successfully. One for those who like oodles of odd.

A TV show expansion that is much better than expected. Kids will be there on the double to lap it up, and adults will find it tolerable, which is about as much as you can hope for. But we won't rest for one second until we find out what's happened to Everest. Bring in Benoit Bark to solve the mystery next time around.

Overlong and often overcooked, this is nevertheless a relative return to form for Diesel as the fiendish Furyan.

Making a killer-doll movie out of decent component parts should have been child’s play, but this misses the mark.

Fun in parts, and Stallone's always watchable, but it's an '80s tribute movie that coasts along on rapidly diminishing goodwill. Beige Heat, if you will.