Dan Jolin

A solid, often entertaining life-of-crimer which benefits from some stylistic touches and a faithful, convincing central performance.

The film is let down by an approach that goes for impact over insight, but Last Breath is a worthy entry to the ‘hostile environment’ documentary subgenre.

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.

Despite Fischbach’s arguably admirable intent and exertion, this low-budget sci-fi horror makes Event Horizon look like 2001: A Space Odyssey.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

Sounds rather soapy and melodramatic, but director Susanne Bier, assisted by an able cast, ensures the traumas are painfully realistic and subtly observed.

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

A sometimes clunkily executed true-life story which at least has potency in its blend of subject matter and lead actor. Despite often being hard to watch, this is Rosamund Pike’s best work yet.

Lively remains impressive throughout, but with plot-driven fare like this, such lapses are a let-down.

One of Streep's finest-ever performances. But beyond that - whatever Morgan and Lloyd's intentions - it's little more than a myth-enshrining exercise.

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

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."

A laudably amoral and superbly caustic comedy for those who like their satire strong and unfiltered.

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.

A decent, cogent, greyly atmospheric thriller with something to say about War-On-Terror America.

While it proves an all-round well-mounted distraction, Ant-Man And The Wasp undeniably lacks the scale and ambition of recent Marvel entries.

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.

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

A stylish portrayal of a literal power struggle based on truly interesting historical figures and events. But it tries to take in too much in too little time, when all it needed was to centre on Edison and Westinghouse.

A coming-of-age story which thoughtfully and heartfully tackles the repellent practice of conversion therapy. Moretz is excellent, but this summer camp/institution drama cocktail could have done with a little more fizz.

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

Odd, confident, challenging, and featuring a brilliant turn by Williams. If only there was just a little more to it.

A tangled narrative and damp-squib ending detract from an otherwise joyous Spaghetti Eastern.

A compelling curio from Werner Herzog, who investigates a strange real-life phenomenon through a fictional lens. It's worth watching, especially if you enjoy Herzog's lateral take on life, but it's hard not to wish he'd just made it as a straight documentary.

Think Donnie Brasco, with the IRA instead of the Mafia. Jim Sturgess dominates with a star-making turn, although some stylistic slip-ups let him down a little.

It’s not the kind of historical drama you might expect from Ridley Scott, but that’s not necessarily a bad thing. And if its threefold perspective tests the patience, it at least gives the right character the final word.

With a better story, director and support cast, Martin could have made Clouseau his own. Still, it's not as bad as the one with Roberto Benigni.

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