James Mottram

Madness and death hang over Herzog’s Wagner-scored vision like a black cloud, while Kinski adds much poignancy to Dracula, the lonely immortal.

If you’re looking for a good-old fashioned romp, stylishly made and frequently hilarious, this ticks all the boxes.

Perkins ensures everything services a story that comes armed with at least one almighty twist. Measured in pacing and tone, his film also feels extremely moody thanks to the overcast skies captured by cinematographer Andrés Arochi.

Despite the slightly uneven pacing, Wright’s sturdy performance keeps things on an even keel. The result is a fiendishly sharp poke at questionable notions of Black representation in the modern world.

Sharply observed with a top-notch cast and a pleasing old-school vibe, The Instigators is tremendously entertaining.

A surreal head-scratcher that'd make Luis Buñuel smile, it may not be perfectly formed, but there's no denying its fierce originality.

Powered by the magnetic Aaron Taylor-Johnson, it’s rough around the edges, but still intoxicating.

Blending OTT gore, devilish humor and on-the-nose satire, this is sick, twisted and hugely enjoyable.

The pacing is spot-on, the set-pieces memorable and all the characters are allowed to shine, without it ever becoming The Johnny Depp Show.

Hardy is immaculate as Leo, from accent to demeanour. Now on his fourth film with Hardy, Oldman is a pleasure to watch, and even the smallest of roles have been carefully cast, with the likes of Vincent Cassel, Paddy Considine and Clarke all enjoying their moment.

While the Bride’s relationship with Frank isn’t exactly a tear-jerker, Gyllenhaal has made something unique and singular. An outlier in the Frankenstein canon, it’s both a thought-provoking re-assessment of Shelley’s work and a bonkers feminist call-to-arms. They don’t come much wilder and weirder.

It’s heavy-handed, but with such fine performances from the youngsters, aided by the ever-reliable Shirley Henderson (as a social worker), that it’s hard not to get sucked into this tragic tale.

The Final Reckoning brings both the Dead Reckoning storyline and the franchise as a whole to a satisfying close. As ever, Cruise is in peak condition, front and centre amid some looney stuntwork. If only his antagonist Gabriel was a more worthy opponent.

Valiant, but flawed. Some of the set-pieces are superb, but there isn’t enough meat on the bones to turn this into a classic.

Depending on taste, you’ll be left either barfing or laughing.

With Hill on co-scripting duties with Scott Pilgrim scribe Michael Bacall, 21 Jump Street was always going to live or die by its gags. Fortunately, it boasts that sweet-yet-dirty comedy that Hill revels in.

In the end, Road House is a solid actioner, a frolic that Liman marshals competently. This is a fun Friday-night fight-fest, best enjoyed with a few bevvies – brash, loud, knockabout and liable to leave you with a cauliflower ear or two.

Like an inoffensive light ale, the result slips down more pleasantly than you might expect.

[A] memorable, conventional account of a true maverick.

Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.

Guilty of being slavishly loyal, Taylor’s film never quite translates into the cinematic equivalent of Hawkins’ page-turner. Blunt, though, is excellent.

Full of fizz, filth and fun, I’m So Excited! is like an ’80s retro-blast. Its scattershot comedy may not impress latecomers to Almodóvar’s career, but old-school fans will love it.

A competent if occasionally clunky biopic, enlivened by a superb Marisa Abela, who truly inhabits Winehouse and brings those songs to life.

Like all of Bay’s work, it’s over-the-top, brash and exhausting to watch. But like the lifestyle its characters aspire to, there’s an allure too.

A competent rather than classic follow-up. If the action feels generic at times, the addition of Watts, more Winslet and the strength of Woodley are worth watching.

Joseph Gordon-Levitt is credible as the former NSA contractor, but Stone gets side-tracked by his relationship with Lindsay Mills (Shailene Woodley) and Rhys Ifans’ leering CIA suit.

It’s absorbing to a point, but adds little to what’s gone before.

Pleasingly silly sequel is a colourful, creative, deliciously daft animation.