Ian Nathan

A flawed work held together by Alwyn’s tender presence.

Despite moody flashbacks to the Nazi takeover, Hirschbiegel draws a blank. Elser remains an enigma, a great what-if whose German torturers cannot comprehend acted alone.

Vallée’s post-traumatic stress comedy is more scientific than genuinely moving. Nevertheless, Gyllenhaal continues his post-Nightcrawler upgrade with another vivid performance in the key of strange.

For all the special effects and half-starved A-listers, this is a sodden beast. Perhaps there’s a reason that Melville only told half the story.

Charming in that neurotically adorable way Charles Schulz established over many years, this is a fond continuation of the Snoopyverse.

On one level a fascinating refraction of the Amanda Knox trial into an examination of perception, on another an increasingly trying hall of mirrors.

Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.

A persuasive, warts-and-bolts depiction of warfare from the guts of a tank yoked to an overwrought, sub-Private Ryan account of innocence under fire — so a hit and a miss.

Weightless, but not without its enchantments, this is Woody Allen coasting. But where better to coast than the loveliest coast of all?

For all its chilled intelligence and topical ambition this is a bloodless adaptation, but worth seeing for Hoffman’s deft and ghostly presence.

What begins as a thrilling pastiche of comic-book formula gets bogged down in its own scientific prattle — not that you ever stop adoring Johansson’s magnificent heroine.

An uneven debut from John Slattery that nonetheless shows flashes of flair and a jet-black sense of humour.

For all it boasts in ingenious style, this genial American yarn lacks the delicious bile of Jenuet’s early days.

With Eastern Promises and Dirty Pretty Things, screenwriter Steven Knight has proved his ear for London's darker rhythms. Here, though, there's little to raise the pulse.

Good intentions, vivid setting and TLJ on top form do not make up for a lack of anything truly compelling.

However exotic the locations and starry the stars, there’s no escaping this is The Devil’s Advocate of online gambling. Fold.

Already a hit in America, 42 is a well-told but square biopic doing justice to Jackie Robinson rather than exploring him.

The CG does its part of the bargain, but even more than the brighter, breezier original this is a pale imitation of Potter.

Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.

Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

Hitchcock for dummies: brisk, jolly, well-played but oversimplified.

An uneven mix of impressively executed, violent clichés about good ol' boys defending the American right to flout the law.

As earnestly as they have tried to continue the formerly excellent spy series, everything Gilroy and crew concoct only serves to mock the excellence and passion with which Greengrass delivered his films.

Family dysfunction to make Jeremy Kyle blush, but thanks to McConaughey's oily power and Friedkin's unflinching purpose it's a compelling beast.

Buffeted by a lack of suspense, threadbare characters, and a very poor script, the stunning visuals, gloopy madness, and sterling Fassbenderiness can't prevent Prometheus feeling like Alien's poor relation.

With so many films adapted from novels, it's nice to see cinema paying homage to unheralded greats of literature like Sebald. While this one often struggles to do justice to his sense of grandeur and poetry, it'll be manna for fans of the German's work.

There's no question it's stunningly mounted, and Wasikowska makes a much stronger Jane than Alice, but the romance is overripe and the climax underdone.

Not one to let slow-building tension and mystery get in the way of wild flourishes of extremism and shock, Ken Russell hit upon a story that more or less handled his structural excesses and tendency toward blasphemy.

Unfortunately, half the time this feels more like an Omen parody than a chance to give it a great send off.

For much of its slowburn build there is a classy, intelligent thriller at work, something closer in tone to The Odessa File. Still, you must remain guarded to how over the top and quasi-horror events will finally turn.

It picks up in the last hour, though this is a very minor compensation in an otherwise long and listless film.

What a peculiar but effective children’s adventure movie this is.

One for the die hards. The saving grace here is a knowing sense of humour so lacking in its predecessor, For Your Eyes Only.

In the grand pantheon of Sinbad movies, those pleasurable Arabesques of silly beasts, big swords and scantily clad maidens, this lower league Ray Harryhausen stop-motion thriller squeezes between the better Eye Of The Tiger and the worse Seventh Voyage.

This sprawling epic rewards patience with an emotional pay-off and non-triumphant ending that reminds us all too starkly of the sacrifices made during war.

Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.

The jingoism is blindingly awful, but by the time of the showdown, the film has descended into an unaware parody of itself.

Bond meets Star Wars in one of the series' sillier outings.

Michael Caine as a Nazi and Donald Pleasance as Himmler...what more could you want?

About the dumbest movie Clint Eastwood ever put his name to.

Highly-evolved it ain't, but this Stone Age slacker is a lot of fun.

A tormented movie about torment; loopy, over-reaching and occasionally suspicious. Simultaneously, it is a daring artistic endeavour.

It's not the plot that disappoints, it's the poor dialogue between action sequences. Sadly another film to file under not as good as the book.

Running at just over four hours, it is as spectacular, lush and extravagant as the studio would have liked its audience to believe. But it also has moments of mind-numbing boredom as the plot,– slowed by extraneous dialogue, drags from Egypt to Rome.

Classic War caper with a few too many plot contrivances but high on adventure.

A bit silly really but it has a bizarre mix of a cast and some tension in places.

The effects may have dated, as have the Cold War themes, but the almost real time adventure still has some tension to offer.

The tale from the past is very nostalgic, heartwarming and mouth-watering and all, as Idgie and Ruth cook up a storm, are kindly to their black domestics and stand up to piggy men while events fitfully progress to a courtroom climax. And Masterson is a peach. But the best bits belong to Bates as her dreary Evelyn raises her consciousness, lowers her weight and starts speaking her mind. It's a nice, pleasant celebration of friendship, but without much meat to chew on.

It’s ragged round the edges, but then Fritz Kiersch is working with a budget Roger Corman would laugh at, and he does a good job.

Smart and satirical but very dated, obviously.

Derivative sci-fi hokum but some imaginative touches here and there.

Only distinguishable from the original movie by its obvious cheapness.

An insanely effective no-brainer of a film, sparkling with a simple charm and energy rarely witnessed this side of illegal substances.

The definitive wacky screwball comedy that spawned a genre.

Not a masterpiece, by any stretch of the imagination, but it's pleasing to see a sequel strive so hard to reach the same heights. That it fails is through no fault of its own - the original simply raised the bar too high.

As a light family sports feel-good this works but don't look for anything more.

This is supposed to be serious hard-hitting but with most prehistoric depictions, only manages either school reconstruction or parody.

One of the most legendary tear-jerkers of the 20th century.

Everything from the style to the casting feels grubby and worn.

Fairly routine western makes a disappointing swansong for Hawks. Still good fun though, if you like this kind of thing.

One of Heston's best work, this shows our lead at his most macho and heroic, inspiring a whole army while also managing to woo the stunning Loren in this romantic war epic.

Clearly not a |Disney classic as almost no-one has heard of it, this is vaguely enjoyable 70s hokum.

No matter how well dressed, the movie can’t escape the gravitational pull of formula. Without a convincing subtext, Black Rain is pretty dull fare indeed.

Sedate and contemplative character piece but low on thrills.

Largely devoid of any charm or intelligence that made other Apes films entertaining, this one should be buried in the Forbidden Zone.

Those with the patience to sit through a slow first half will be rewarded with another gutsy ending.

Clint doing roughneck humour with an orang-utan, what's not to like?

This has some very, very funny bits...interspersed with a very slight film.

Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.

The sugar level is positively diabetic, but the whole aura of warmth and cuddliness is hard to resist.

What saves the movie is its relaxed sense of self-awareness. Reynolds all but winks at the audience with his collection of Dick Dastardly sneaks and dodges, but holds onto that winning, hangdog warmth that got him to the top of the pile in the seventies.

While you cannot dismiss its place in history, its power is in what it represented rather than what it did.

Certainly not Raimi at his best, but some knowing genre nods and an array of great effects make up much of the deficit.

Willow is not without its charms - the effects are more than special, the set-pieces suitably epic but it just doesn't fulfill the promise of certain other fantasy films.

Who could ever buy Atticus Finch as the demonic Ahab driven by hellfire to hunt down that dreaded white whale?

Arnie still swings that sword with aplomb, but with a story this ludicrous, he's on slippery ground.

It's mindless entertainment, but its critical and commercial failure doomed the pirate genre to a watery grave.

Imagine if Stanley Kubrick had made Ghost and you're some way to this classily restrained oddity, but its morbid preoccupations and ambiguity might prove too cuckoo for most.

All gothicky, christmassy, romantic and Burtonesque. Worth a look.

A pretty craven attempt by Disney to cash-in on Star Wars blockbusting success, this lightweight but well-written sci-fi adventure movie is well pitched at the very young. More discerning fans of the genre would do well to smother their indignation at the levels of general plagiarism floating around the deck of the supership Cygnus.

One of the dreariest outer space swashbucklers of all time.

Connery has a ball with great stunts, snappy dialogue and a bevy of typically Bondish beauties.

Slow and foreboding with a memorably creepy Christopher Walken. If you're looking for fun, this ain't it.

Peckinpah is never quite as comfortable with the high-rise terrain (including sloppy kung fu) as he is with the dusty rawhide of the West, but it still shows up the slick trigger-edits of new action cinema for the gutless vacuum it has become.

The first of the silly VW Beetle with a cute personality comedies, is as childish dated and occasionally sweet as the others.

So so adaptation of the Kipling story. The human performances are riotous but their animal counterparts are blank canvases yet to be coloured.

Like Lansbury, the film has aged well and retains almost all of it's magic.

The film seems to be pitched at shrieking level, as if that’s the only timbre children can register.

Very hit and miss and not a patch on the first spoof but when a joke strikes home it'll have you going for a while.

Ustinov may not be the Poirot that we all think of now, after the David Suchet series, but this is pure Agatha Christie, steeped in nostalgia and atmosphere.

Excessive and self-indulgent it's true but still the Pythons at their worst are still worth a look.

The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.

This has grit coming out of its ears but not the greatest Eastwood feature by a long shot.

Ridiculous premise and hilarious acting which is mostly famous for the Lolita-type Brooke Shields cavorting in tropical settings.

Terribly dated, but worth watching for Caine's performance.

Unoriginal, unfunny superhero spoof with a bewildered cast and an obvious plot.

A sci-fi which balances big themes and claustrophobic action with apparent ease.

Film is elegant but never beautiful, a pretence at Lean’s magnificence contradicted by a lavish but anachronistic score by Vangelis. It is the words and performances which excite; their director is out of his depth.