James Mottram

Testosterone, muscles, action, guns and cars… it’s Fast & Furious business as usual. Could be tighter, mind, and the constant dick-measuring gets a little wearying.

With so many of the gang now in the ground, this swansong doesn’t boast the same punk energy of the show’s early seasons. Only occasionally does it snarl and show its teeth, with flashes of the cold-blooded violence that gave it so much of an edge.

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.

A tender, thoughtful film that finally brings the legendary singer-songwriter’s story, or at least a snatch of it, to the big screen.

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

Jurassic World is a fiendishly crafted blockbuster: old-fashioned thrills, heroism and romance, locked inside a smart, self-aware shell.

Well made, but instantly forgettable.

To The Wonder doesn’t quite live up to the sky-high expectations set by his earlier films. But it’s still a brave, soul-stirring and sensitive work.

Outrageous, outlandish and overboard, The Dictator will satisfy Cohen's army of fans. But it never feels as funny, full-on or fresh as "Borat" and "Brüno."

Throughout, there’s a tendency to descend into farce, which yields laughs, but ultimately hampers these Letters’ potential to say something more profound.

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.

A terrific thrill ride. With Ford in fine form, Indy’s last stand is a highly satisfying blend of action, humour and emotion.

Once again, Nathan Crowley’s production design is wondrous, a multi-colour extravaganza that truly brings Oz to life. Simply spending time there – with its fields of tulips and fireworks in the sky – is one of the great pleasures of this movie. A film that will surely satisfy Wicked’s extensive army of devotees.

A sweet-natured love story, well-intentioned, animated and acted, but lacking the depth of some of the studio’s greatest triumphs.

Led by some fine performances, this is an impressive and intense example of how to adapt Stephen King.

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.

Loaded with flashbacks, it’s unevenly mounted but kept watchable by the lively script and classy cast.

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 may lose its way on occasions, but thanks to a committed cast and a script that captures the Kerouac vibe, Salles' adaptation never ends up on the road to nowhere.

Assayas and his team have created an indelible portrait of contemporary Russia, “a prison the size of a country” as it's called, one that perhaps only an outsider could ever get away with.

A nifty lift-off and a tense first hour lead us, disappointingly, to a very bumpy landing. While Neeson and co. do their best, the script just doesn’t deliver where it really matters.

With McAvoy acting as if his life depends on it, Filth is the Irvine Welsh film we’ve been waiting years for. Tastier than a deep-fried Mars Bar.

It’s not a film for everyone, especially if you’re craving fast-moving action. But for Poe fans, it’s a grisly treat.

Powell is a very watchable everyman, convincingly demonstrating the man of the people integrity of his character. There’s great work too from Colman Domingo as the show’s slick presenter Bobby T and Michael Cera, who plays a loose-cannon contact that Richards makes during his quest for survival. Wright also handles the explosive action well, orchestrating elaborate, kinetic set pieces that throb with excitement.

Shepard’s film is fun but forgettable in the first hour, then disappointing in the final third. But Law’s raucous turn keeps you watching.

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 grand folly that makes the Wachowskis’ "The Matrix" trilogy look prosaic, Cloud Atlas is a fascinating if flawed work that will leave you gasping one minute and gagging the next.

With Yakin's all-action plot operating like clockwork, an on-song Statham proves anything but expendable in a genre he dominates. Predictable, sure, but equally pleasurable.