James Mottram

Ponderous, pretentious and, most damning of all, just not much fun.

With A+ acting, a solid script and sensitive handling, there’s enough here to move even the hardest of souls.

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.

Packed tight, Jacobs’ straightforward sequel may boast less up top than the Soderbergh-directed original, but still bulges where it counts.

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

Not the promised insider’s peek but Assayas and Binoche are still a potent combo, nailing the fragility of an actress facing the ageing process.

Funny, foul-mouthed and frighteningly on-the-money, Top Five is relentlessly amusing even while it’s super-indulgent and selfabsorbed. Rock on.

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.

Not the deepest western you’ll ever see, but it sure knows how to pack a punch (and fire off a round). Fans of the genre will get their kicks.

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.

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.

Loving and lavish, Kenneth Branagh’s take will please traditionalists more than revisionists, but there’s enough here to enchant both young and old.

A genuine disappointment, given the talent involved, and a rare misstep for Penn, who can’t save this moribund vanity project from flatlining.

Detractors may carp that Cronenberg is showing us nothing new, but Maps is so flawless in its execution, it vividly refreshes the subject matter. Never overcooking the setting, it’s a story right in his wheelhouse; a very human look at characters barely clinging to their humanity.

Charmless, mirthless and witless, this waste of time is another black mark on Depp’s card, while his co-stars fare little better. Even low expectations won’t help you here.

Powerful drama, driven by a powerhouse performance, Selma is this year’s Lincoln. For Oyelowo and DuVernay, it’s a career changer.

If not quite on a par with PTA’s best, this is still a richly intoxicating brew of humour, violence and melancholy.

On form as both director and actor, Jones crafts a mournful but moving hymn to the western. The feminist subtext, meanwhile, brings a fresh slant to the old genre.

Bleak but beautiful, this terrific chamber drama confirms Ceylan as one of world cinema’s leading lights. The bum-numbing length may intimidate, but there’s more than enough quality to offset it.

The home stretch is drenched in sticky-sweet sentiment, but Murray’s fans will rejoice at the chance to see their idol in full-on grouch mode.

Disappointingly limp, with precious few belly laughs, despite a try-hard attitude.

A finely etched character study, with Cumberbatch on towering form. Set coordinates for the Oscars.

Injecting fun and fairground thrills back into the spy movie, Kingsman is a blast. Firth is sensational, Jackson rules and newcomer Egerton surprises. Mission accomplished for Matthew Vaughn.

Adams is as watchable as ever as Margaret, backed by fine support, but the problem lies with Waltz. He’s more caricature than character, and Burton proves unable to harness his energy as well as Tarantino did.

Loud, intense, violent, relentless, Fury doesn’t stop until the credits roll, thanks to Ayer’s cracking direction and a committed cast. The best WW2 movie in some time.

MacKay is marvellous, delivering lines with a Lear-like intensity, in what becomes a fascinating meditation on myth and madness.

Rude, crude and packed with more laughs than Jay’s had lovers (6,004, apparently), Inbetweeners fans will lap this up. All this, and a killer twist at the end.