Helen O'Hara

Apparently unable to decide whether to take its own mythology seriously or not, this is a mess of sculpted cheekbones and incoherent romance.

It falters in the middle and hesitates unnecessarily in setting up the love story, but Gru still has charm and kids will adore the Minions.

An awkward mix of realist social drama and Statham actioner, this doesn’t quite convince as either.

It’s no masterpiece, but this is a promising debut from Boone and a good showcase for his entire cast.

It will require no conspiring to make you fall for this one; Whedon and Shakespeare are a perfect match.

Ben Barnes as a Colombian? Really?

A tough, impactful film that offers a sometimes uncomfortable but always gripping examination of cause and effect.

The midway point between "A.I." and "Diary Of A Wimpy Kid." It has quirky charm and a tender heart, but the treacly sentiment may become wearisome.

The inconsistencies in tone - is it an Anchorman-style farce or something more serious? - distract from likeable turns from the leads.

Had this adaptation of the young adult fantasy-romance taken a few more liberties, it might have been a home run.

Somewhere between the pop-culture deconstruction of "Zombieland" and the skewed romance of "(500) Days Of Summer," this manages to make the apocalypse seem charming. Warm is the right word.

Occasionally, like its characters, ragged around the edges, this nevertheless rings with all the emotion and power of the source and provides a new model for the movie musical.

Fans will be left on a high; other viewers will be confused but generally entertained by a saga whose romance is matched only by its weirdness.

An animation that never drags itself out of mediocrity despite the best efforts of gifted animator Tartakovsky.

Perhaps no more absurd than the Verhoeven version, but certainly less amusing. Farrell and Beckinsale emerge unscathed, but the endless scrabbling for novelty and reinvention leaves this feeling unaccountably stale and familiar.

It benefits from a supernaturally engaging cast, but this treads too closely to the rom-com model to feel as smart or moving as Westfeldt's previous best.

"The Notebook" may have had us blubbing but since then Nicholas Sparks adaptions have offered thin pickings for cinemagoers. For all Efron's boyish charms, this one could be the most ordinary of the lot.

It's just not quite as much fun as it should be, despite Pearce's best efforts and some good chemistry with Grace. Unusually for an action thriller, this could have benefited from being just a little longer.

If even a tenth of the care and attention lavished on the production design and action sequences had been afforded the script, this could have been an adventure of legendary proportions. As it is, this fizzles whenever anyone opens their mouths.

Smart, funny and really quite hot, this is worth a look no matter what you think of "Charlie's Angels."

Like "Ghost Rider: Low Voltage," this is a surprisingly underpowered excursion into Marvel's mad world by Neveldine and Taylor. More purgatory than hellfire.

The few weaknesses in the plot can be overlooked as The Vow makes for a wonderful - if a bit teary - romance that is brilliantly acted.

A delightful blend of hand-drawn animation and CG style that'll be soul food for hopeless romantics everywhere.

The acting's better than it's ever been, but with the best will in the world, this can't get past the fact that the story's demented.

It won't do anything to win over those not already partial to Tarsem's style, but it has more than enough blood, guts and glamour to satisfy – and Cavill looks like a superman.

Two charming leads don't make up for a comedy that just doesn't quite deliver the laughs it should.

Funny and scary - and sometimes both at once - it lives up to the original, even if it fails to surpass it.

Flashes of bleak humour makes this wry portrait a compelling experience.