David Hughes

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.

With his fourth film as writer-director, Judd Apatow has arguably made his most personal film yet, without forgetting to make us laugh.

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.

Christophe Honoré goes epic in a tale of interlocking lives that owes a debt to Jacques Demy. It won't be to everyone's taste but it's playful enough to win us over.

Totally crackers but it gets powered by pure invention and eccentricity alone.

The late, great Robin Williams brings great nuance to the anguished Nolan’s inner struggle in a slight but sensitive story about a man facing a life-changing choice. It’s a worthy legacy for a beloved, talented and much-missed actor.

A desire to Know What You Did Last Installment is likely to be the biggest draw for Scream number four, but if this proves to be the last in the series, it's a bloody shame it ended not with a Scream but a whimper.

Far from the giant mess you’d expect from the delayed release, late title change and a production history as muddled as the source material, Singer’s tall tale is snatched from disaster by an all-hell-breaks-loose third act.

If only he had probed a bit deeper, and widened his scope beyond the predominantly white, male subjects (including our own Rob Brydon, Steve Coogan and Stephen Merchant), this could have been a fascinating film as well as a funny one.

The former comedy co-stars (Knocked Up) are superbly cast in this fascinating, fact-based story.

Another bravura performance from Juliette Binoche glosses over the flaws in a soft-focused glimpse at the seamier side of student life.

If this ‘power corrupts’ potboiler had been made in the 1990s — with, say, Andy Garcia, Gene Hackman and Kim Basinger — it would already have felt old-fashioned. Forget it, Jake, it’s no "Chinatown."

Better than "The Transporter" but not as much fun as "Crank".

If weapons and wizardry get your blood up, and you prefer your movies dark and brooding and minus the sandals, Solomon Kane fits the bill. It may lack The Lord Of The Rings' majesty, but Robert E. Howard fans will lap it up.

Zac Efron makes a convincing bid for movie stardom — and Ratajkowski proves she’s more than just a pretty face — in this flawed but fitfully entertaining film, even if it all goes a bit Pete Tong at the end.

If TV had a Saga Channel, this intriguing, if never quite gripping, serial killer thriller would play on a loop, in between reruns of Matlock and NCIS.

Nicholas Hoult does his best to bring Niven's weapons-grade scumbag to life, in a film hobbled by amateurish acting and absence of production value.

Schnabel doesn't comes close to the quiet power of his last feature, "The Diving Bell And The Butterfly," delivering a story that can't match the scope or scale of Rula Jebreal's source material.

It's gratifying to see Butler giving a proper acting role the old college try. Despite his best efforts, Forster's film, while pulling no punches, still somehow manages to miss the mark.

Dean Devlin finally steps out from Roland Emmerich’s shadow with a tight, twisty little thriller. Add a fourth star to the rating if David Tennant going full Nicolas Cage sounds like your kind of thing.

Tom and Anna are so thinly sketched that by the time the painfully slow set-up starts to pay off, we no longer care who does what to whom, or why.