Dan Jolin

It feels terrestrial rather than cinematic, but the joy of Trumbo is in the heroism of its subject and an amazing performance from Cranston.

The action is enthralling even if the storyline doesn't always have the ring of truth about it.

Gilliam at his best and his worst.

Stanton has built a fantastic world, but the action is unmemorable. Still, just about every sci-fi/fantasy/superhero adventure you ever loved is in here somewhere.

Not exactly genre-bending innovation or anything but a decent documentary about an important episode in history of oil company exploitation.

A disappointingly straightforward, romance-driven take on a fascinating story of creation, but one that’s lifted by a superb central performance by Elle Fanning.

A lesser entry in the LeCarré Cinematic Universe, though Damian Lewis and Stellan Skarsgård rescue it from complete blandness.

A strong visual style tussles with flaccid storytelling in this ambitious retelling of Grimm. It won't exactly have Walt Disney spinning in his secret ice chamber, but you may wish they spent more time worrying about what exactly the film is than who it's for.

A film more concerned with 'how' than 'why' or 'who', Valkyrie would have benefited from more scrutiny and complexity. Still, once the bomb goes off, the thrills come in spades.

A familiar story oddly presented, but with a powerful central performance from Woody Harrelson.

Too long, and too wrapped up in its various plot contrivances to notice it’s veering off course. But Jack just about pulls the wheel back, aided by Verbinski’s flair for cartoonish comedy action.

A mixed bag of bones and bodies, whose Southern Gothic atmosphere and superb performances — from Holland especially — are let down by the film’s lack of narrative focus.

Another lavish and largely entertaining Disney re-do, with strong turns from Massoud and Scott. But, appropriately for someone playing a huge, powerful entity trapped in a tiny ornament, Smith’s genie performance feels disappointingly constrained — both by overdependence on the original and some ghastly CGI.

It's not sure where to go once the final Iron Man suit is constructed, and seems in a rush to get there, but Downey Jr and the supporting cast are so perfectly placed we're already looking forward to the bound-to-be-better sequel.

A lightweight, tinselly film with some nice touches and appealing performances, though it never lands its darker moments.

A largely inventive and energetic portrayal of a past-their-prime music legend that’s let down by its unnecessary trad biopic beats.

Writer / director team Kureishi and Michell add to their partnership with an insightful look at life-long commitment.

For all the charisma of its hero and villain, it falls down on its failure to resist cliché.

About as good as a big, stupid American action movie can be without ever being anything better than a big, stupid American action movie.

Part "Evil Dead," part "The Truman Show," part "Arthur Christmas"... For horror hounds who love a larf, and those of us who always wondered exactly what that dry-ice stuff that rises out of the forest-floor moss is. A fun ride - but not quite a "Scream."

Aka ‘The Odyssey: The Bits Without The Monsters’. Not that that should put you off, as Binoche and Fiennes bring some raw, fleshy humanity to this mythic text, giving it a modern twist that balances the film’s flaws.

Very dated farcical comedy but Peter Sellers is charming despite the anachronistic character-humour.

While it never quite swims beyond the shallows of its money-minded plot, this fictionalised account of the licensing battle over hit puzzle game Tetris is, for the most part, absorbing and exuberant.

There are moments of comedy grandeur, but this isn't as consistently funny as you'd hope. Nevertheless, Downey Jr.'s Kirk Lazarus is instantly up there with the comedy greats.

With its edgy style intact, The Immortal Man never takes its eye off the Peaky faithful. But keeping the fans happy is a double-edged sword, as it can’t help but just feel like an extra-long episode rather than a standalone cinematic experience.

Exactly what you’d expect from a crime-caper action-comedy pairing Dwayne Johnson and Ryan Reynolds. Nothing more, nothing less.

A Western that hits many of the expected beats but which does so in an unexpected manner, being centred on a tender, loving relationship rather than gunplay and grit.

Cinema’s least-subtle and most-escalated series hits its sky-high-concept plateau. It's a film that somehow finds new and fabulously silly things to do with cars, while — Momoa’s questionable villain aside — being exactly what you’d expect.