Dan Jolin

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.

An opportunity to exploit childhood nocturnal fears is missed in a second-rate horror.

An emotional smackdown. Rourke's never been better, and the change of pace and texture suits Aronofsky perfectly. "The Raging Bull" of wrestling movies? Oh, go on then.

A twist-burdened techno-thriller that would be by-the-numbers if it could count.

The Prestige traces the course of their bitter feud, as their respective acts of sabotage become ever more deadly.

A war film more of sober, grim reflection than balls-out escapades. Yet it grips consistently, its bursts of combat delivering gut-punches of veracity.

A kids’ movie for grown-ups. A grown-up movie for kids. Exactly what you’d expect -- and hope for -- from the latest, and we’re guessing final, Woody and Buzz adventure.

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.

On the Ferrellometer, Talladega Nights sits just above "Kicking & Screaming," when it should be redlining it up there with "Anchorman."

One of the most chillingly effective visions of the world’s end ever put on screen -- and a heart-rending study of parenthood, to boot.

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 bravura documentary which balances the personal and the political as it peers into the First Lebanon War, its animated approach never feeling like a novelty. Astonishing, unforgettable: you have to see it.

A complex, unique and engrossing journey into the murky recesses of an unhinged mind. It really needs to be seen to be believed.

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

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

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.

Grown-up but not too serious; action-packed but not juvenile… Not only is this the mullet-free Robin Hood movie we’ve been waiting decades for, it’s also Ridley Scott and Russell Crowe at their most entertaining since Gladiator.

Impossible to recommend as a great Friday night out, yet agonisingly vital as thought-urging cinema.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

Unlike its newly trim director, Kong does boast some flab around the middle but by the final reel there’s little doubt that what could have been Jackson’s folly is a triumph, the kind of romantic action spectacle that makes the big screen silver and provides box-office gold. Puts the prime in primate.

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.

A decent but unremarkable film with a big, unforgettable central performance. Carey Mulligan passes with First-Class Honours.

Setting out more to challenge us with its ideas than make us whoop at the action, Vendetta can be clumsy, but there are enough impressive flourishes to make up for its stumblings.

A gritty, brutal chase movie that's more about swords (and spears, and axes) than sandals - although it could have done with a lot more character-meat on those bones.

A devastating heart-stab of a movie, this certainly isn't a family film. It is, however, a beautifully constructed, animated drama.

Singer's absence is felt but not fatal. By adding too much new blood Ratner loses some of the original DNA, but with its nifty set-pieces and a few nasty surprises, X3's still a worthy enough sequel to ensure it’s no Last Stand.

An odd one. Rogen's latest clown is an angry, confused man who you never feel entirely comfortable laughing at. There are laughs -- you'll just feel guilty afterwards...