Dan Jolin

The grave tone makes it stiff and leaden, the digi-saturated look is a turn-off. Damnable and disordered.

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.

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."

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.

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

A beautifully crafted, intimate adventure movie and - presented in hand-drawn 2D - one of the most visually arresting you'll enjoy all year.

A marvellous follow-up to 2004's "Sideways" - well worth the wait.

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.

A starkly effective ensemble drama which could well do for the sniffles what Jaws did for great whites.

Stupid, with three o's. But also fun, never boring, and never insulting (to anyone other than Dumas) - unlike certain of the summer's A-pics…

It hardly rewrites the rulebook, but Warrior is a powerful, moving and brilliant sports-pic-cum-family drama. Like "The Fighter," but with kicking.

Ambitiously constructed, deeply compelling, thrilling and in no way only for those who like watching cars drive in circles. A worthy paean to a true talent.

Gripping, heart-wrenching, powerful and a sad indictment of scientific practice, which shows that 'human' and 'humane' are all-too-often mutually exclusive.

A simple entertainment in a summer of overcomplicated disappointments. Also much harder-edged than you may have expected.

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

All you'd expect from an X-Men film (or spin-off, or prequel), but not all you'd hope for. It smacks of rush and compromise, but there's thankfully enough to make you feel optimistic about the series' future once more.

A difficult film and one that's likely to offend in some ways. But as an elliptical, dream-logic infused visual poem, it certainly leaves a searing impression.

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

Without doubt, Jaa's a star — a man very possibly worthy of the 'new Bruce Lee' tag.

Gilliam at his best and his worst.

Unless you pine for second-tier Mel Brooks, you'll find more laughs in the Old Testament itself.

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

The odd conclusion renders it somewhat oblique, but Perfume is a feast for the senses.

Admirably low-key, deeply compelling and their warmest movie since Fargo.

Occasionally fun, always pretty, completely a mess, Casanova never quite finds its footing.

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.

Once you get over the unlikelihood of Affleck and Crowe as buddies, State Of Play stands as a sterling thriller, benefiting from admirable convictions and an arguable return to form by Russell Crowe.

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.