Henry Barnes

A crash reel – a greatest hits of a boarder's most dramatic falls – is meant to entertain. But Walker takes the cheap thrills of the format and flips it painfully on its head.

The East – a sleek thriller clogged by its noble message – heads south. It becomes sanctimonious, makes you contrary. I left craving a Big Mac.

A fun, disposable watch.

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

The flat-out dullness of Arthur is the point of Dante Ariola's debut feature, but it's also its undoing.

Brady Corbet is excellent as thoroughly unlikable Simon.

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

The adults' behaviour is almost as confusing for us as it is for her. It's a neat trick that reminds us these weighty adult issues are both life-changing and, in the moment, somewhat insignificant to someone Maisie's age.

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.

The Place Beyond the Pines is ambitious and epic, perhaps to a fault.

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.

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.

Parked putters, but doesn't go anywhere.

The chemistry between Mikkelsen and Vikander barely simmers, when it should boil. Nevertheless, it's a fascinating affair of state.

The Perks of Being a Wallflower is a perfect fit for its target audience – the Harry Potter kids who are following Emma Watson through her baby steps towards the stronger stuff.

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.

There's a degree of puffery in the writing, however, that makes this drama untrustworthy.

Once you commit to the lexicon – to the blunderbusses, the silver, the loops that close and the loops let run – you're in for a breathless ride. It's been a patchy summer for sci-fi, absent of anything that really sticks in the mind. Johnson's deep, distinctive film plays on repeat.

The dancefloor's full of bodies, the bride and groom have been backed into a corner by relatives desperate for their pound of flesh. Pretty much your average wedding, then.

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

It's fun to watch Whedon pitch his heroes against each other. Child's play, maybe, but entertaining all the same.

Pearce has fun; world-weary in the style of a 15-year-old told one too many times to tidy his room – but shoddy special effects and the surface-level sass of the president's daughter leave this one spinning in low orbit.