Henry Barnes

Ahadu pulls the curtain back on a government that was willing to imprison and torture its electorate.

The result is an unpredictable film, a difficult approximation of a biopic. But it delivers a Jimi Hendrix experience somehow the richer for sidelining the man and subverting his music.

Between the kung fu, the gunplay, a gentle romantic subplot and the extreme gastronomy – there's something for everyone.

The soundtrack's ironic bent might dissuade older viewers (Simple Minds are venerated), but they'd be missing out on one of the best musical comedies since A Mighty Wind. The song's the same, but Pitch Perfect is a great cover version.

A fun, disposable watch.

Wheatley has made High Rise his story, instead of Ballard’s. That’s fine – but, unfortunately, it’s a less interesting take.

Gondry's argument – that pack mentality crushes individual expression – follows a similarly predictable route, but there's enough of his signature playfulness (especially in the use of mobile-phone footage to present flashbacks) to keep the journey entertaining.

Amma Asante's second feature tells Dido's extraordinary story in handsome, if formulaic, style.

If only the transitions in and out of the dollops of broad sex comedy weren't such a bumpy ride.

Infinitely Polar Bear is heartfelt and honest, but it's too cute by half.

Director Francis Laurence ekes a paltry story out. The special effects are limp and the script a little creaky, although somehow it still manages to thrill.

Where to Invade Next is a romantic film, equally affecting and annoying in its simplicity.

There's so much thrown into Tip Top that nothing stands out.

Niccol creates an atmosphere that is airless and dull, an unusual tone for a modern war film, but one that fits the subject matter perfectly.

You can't help thinking he's missed the point of Pulp. Their music denigrated the people as much as it celebrated them. Habicht leaves the city in love with a surface-level reading of Cocker's take on it.

Brady Corbet is excellent as thoroughly unlikable Simon.

While some of World War Z is rotten, the whole stands as a punchy, if conventional action thriller.

The artists’ blathering about the creative process and the nature of existence gets monotonous. It’s the ordinary folk that keep the film on-track.

For all its smashed open cuts and swollen eye sockets, Younger’s film remains an oddly sterile experience. For a biopic, it is remarkably featureless.

The flat hammerblows of The Wolverine bear little relation to the zing and pop of Matthew Vaughn's colourful treatment. Inconsistency is inevitable in a world that's constantly being dug up and done over, but it leaves us no time to fall in love with anything being flung at us.

Inconsistency is A Perfect Day’s biggest problem. The script is scalpel sharp in some places, flabby as the well-blocker in others.

Foy's talent lies in suggesting horror, not delivering it.

A macro argument is being filtered through people’s local concerns, but without getting to know the subjects, you can understand their suffering, but can’t feel it.

It's pulled this way and that by a hiddly-fiddly soundtrack, spun senseless by scene after scene of Radcliffe and Kazan trading flirtatious banter.

It's not bad, exactly – but it is boring and very rarely funny. This is laboured. This is aimless. This Is 40. It's really quite a grind.

A gooey love story is pitted against the end of the world. No wonder the romance comes up wanting.

Tykwer and the Wachowskis' other twist on this karmic hokum - to cast each of their actors in multiple roles across the stories, regardless of age or race - is less successful.

Jon Cassar’s film rejects the recent revisionism that’s flooded the genre. His take – a straight rip-off of the classics – is weirdly refreshing as a result.