James Mottram

A fun romp with a great comic performance from Oyelowo. Doesn’t linger, but you’ll enjoy it while it lasts.

This is a typically unsophisticated, heart-in-the-right-place comedy from Sandler, complete with Happy’s four sons mooning and making dick jokes.

While director Ceyda Torun lets the focus meander too much, it’ll leave you, ahem, feline good.

Despite winning work from the lead, it’s a tame, feelgood effort from writer-director Hannes Holm. Academy bait.

It’s a good exercise for Cooper in creating something more low-key, even if it doesn’t quite come off. Still, in the days where adult-skewing dramas are becoming an endangered species in movie theatres, this should be applauded for attempting the subject of divorce with a level head.

The 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.

It’s just a pity that the storytelling sprawls all over the place, with some plotlines (like the Beetlejuice/Delores discord) failing to pay off. But mostly Beetlejuice Beetlejuice is a fun afterlife frolic.

Two fine performances - particularly from an unhinged Winstead - almost elevate Smashed to greatness. But an under-worked script leaves you feeling groggy and bleary-eyed by the end.

Reversing his "Take Shelter" role, Michael Shannon convinces as her grounded husband and "Mad Men's" John Slattery offers good support as a fellow vet. But this is Cardellini's film, and she dominates with a terrific, tough-minded turn.

The farcical third act, wrapped up too neatly by director Lucia Aniello, softens the blows. More edges needed.

Even if No Other Choice will leave you stone-faced, you can’t help but admire the invention on display, especially in later scenes, where Park dips into the surreal.

An intriguing insight into Lynch’s genius, intimately crafted and leaving you wanting more.

The film falters mostly with its disappointingly one-note female characters ... It’s a shame, for Reminiscence has some impressive ingredients floating around in its murky mix.

Certainly, it’s not for those looking for fist-pumping sporting triumphalism. But in this age of franchise vapidity, it’s still a film worth grappling with.

It’s a big old mess of a movie, in other words: flawed and (sometimes) fun.

The final act loses its way, but in the main West wraps his slasher trilogy in satisfying style, putting a blood-soaked, Hollywood-branded bow on his eras-spanning saga.

The sticking point for some will be the bone-crunching violence, of which there’s A LOT. But if you can stomach that, then this ticks that dumb-fun summer-movie box nicely.

It’s no "Drive," and even hardcore fans will struggle to love a film that’s as mad as a bag of prawn crackers, but as an exercise in style, it has many moments to savour.

Typified by Penn's blustery performance, Gangster Squad is sleek, stylish but superficial. Easy on the eye, even easier on the brain, it doesn't last long in the memory.

Cool cast, hip directors, but a movie that's less than the sum of both. Like its title character, Jeff is gentle, warm but a little forgettable.

A credible, if slightly limited, prequel that recaptures the atmosphere if not the originality of Rosemary’s Baby.

One of the strangest films you’ll see this (or any) year, it unsettles, bores, elates and amuses in equal measure. Not for everyone, but there’s plenty to chew on.

Respectable. Boyega adds real bounce and DeKnight delivers spectacle, even if the plot doesn’t strain too far from the original’s crash-bang formula.

Fresh cast, fresh ideas and full-on action gives Taylor’s reboot momentum, even if an overloaded script threatens to topple it at times. Doesn’t touch Cameron’s two movies, of course.