David Hughes

Whilst this fly is not as tightly scripted or keenly directed as its parent, it does have pace, breathless tension and the sort of gross-out effects that rules out kebabs for some time after the credits have rolled.

An exposition-heavy opening gives way to a modestly effective Australian mash-up of sci-fi/horror hybrids.

Fifty years after he first appeared, Donald E. Westlake’s antihero may have found his perfect avatar. Like Parker’s robberies, it isn’t entirely successful, but Statham and Lopez make enticingly mismatched partners in crime.

Taymor's winningly cast, imaginative take on Shakespeare passes the test of bringing the Bard to film. It may also be the only PG Disney film to contain the word "F---".

Ultimately, this has the feel of a lazy literary adaptation of a half-remembered novel.

McKellen and Mirren, sharing the screen for the first time, are exquisitely matched in this slight but enjoyable yarn, which is like watching two magnificent vintage cars in a road race, without minding too much who wins.

A documentary of two halves, Gibney's character study of Armstrong is tough and forensic. But whether through a lingering admiration or the film's origins as a straightforward celebration of the cyclist's talents, there are moments when its powder remains a little dryer than perhaps it should.

Good fun, but O'Nan doesn't take this film nearly as far as it could go, leaving the plot and its characters somewhat two-dimensional in their obvious stereotyping.

Walker was Oscar nominated for Waste Land this year, and while this occasionally unfocused doc doesn't hit those heights, it's still a valuable and scary film that should be seen.

While Ascher brings the experiences to life in a way that could conceivably induce nightmares in casual viewers, the potency of these scenes is ultimately diminished by repetition.

Polanski’s unavoidably stagy adaptation of David Ives’ celebrated Broadway play is an enjoyably witty two-hander, confined to its theatre setting, yet with much to say about gender roles in the world beyond.

Newcomers will be puzzled by the clumsy contextualisation and muddled motivation of characters who, robbed of their inner lives by a clunky script, are left floundering amid the melodrama and speak-the-plot dialogue.

The visuals are an animation student's wet dream, the dialogue an English student's nightmare - but for Japanimation fans it's a big-screen must-see.

Weir couldn't make a boring film if his life depended on it, and for any other director The Way Back would be laudable. It's good, but from this director we have come to expect great.

Funny, whimsical and as warming as a big bowl of Irish stew.

Often funny, outrageously vulgar in places and very, very French.

Gregg Araki's sci-fi is a weird and, just occasionally, wonderful skew on the college comedy. Slight but fun.

There's undoubtedly comedy mileage in an irreverent sending up of the Signs/Magnolia school of everything-is-connected philosophy. Despite the calibre of the cast, the Duplass brothers mostly fail to find it.

Moving if low-key, Jim Loach's debut feature is proof that compassionate, socially conscious filmmaking runs in the family.

A musical with almost 100% sung verse is not for everyone but Kendrick is as bewitching as ever.

Reinforcing the very rom-com tropes it's sending up, this is a little too postmodern for its own good. Happily, Poehler and Rudd are as irresistible as ever.

Chilean writer-director Sebastián Silva’s neither-fish-nor-fowl narrative plays tricks on our minds, without fully engaging our senses.

Cage and Wood make a hugely enjoyable double act (has True Detective season three been cast yet?) in this deceptively dark thriller with comic undertones, arguably sunk by a seismic tonal shift that not only wipes the smile off your face, but leaves a bad taste in the mouth. Tune into its offbeat frequency, however, and there is much to enjoy.

The ever-versatile Winterbottom's loose and limber adaptation doesn't entirely mesh with Hardy's more formal narrative, leaving this feeling disjointed and underpowered. Nevertheless, there's still plenty to enjoy in the director's customary flourishes.

A sub-Hitchcockian thriller with enough forward momentum to thunder over its many plot holes, The Commuter is a surprisingly enjoyable if instantly forgettable crowd-pleaser that takes the audience for a ride — in more ways than one.

Intermittently funny but erratically structured, it's a rare disappointment from Shelton.

Whether or not the metaphorical aspects excite you, an unshakeable tolerance for high camp and lowbrow humour may be required to fully appreciate Almodóvar’s broad, bawdy comedy — even for fans of his early, funny films.

Feeling like a relic from the wave of ’90s crime ensembles that followed in Tarantino’s wake, Arkansas not only squanders some good talent, it’s a tragic waste of a fine book.