Joe Walsh

Marsh has crafted a compelling film, yet for all the fine performances and intriguing subject matter it is never quite compelling.

While the premise of Rafiki is well-worn, the context of the film is not and Kahiu brings fresh zest to a familiar story which is told with spirit.

Far from breaking the mould of the survival drama genre, Arctic nonetheless offers thrilling moments and entertains throughout, mainly thanks to Mikkelsen’s muscular performance as the grizzled Overgård.

Arguably, this is the Iranian’s most mainstream film to date, and lacks the subtlety of his early work, yet he still shows he has the ability to deliver devastating blows that leave you stunned. While not on top form, Faradhi demonstrates he is still a master craftsman, albeit in a more conventional mould.

Spielberg asks audiences to fondly remember their childhood, and to fall back in love with characters, songs and stories long forgotten. At the same time, there is a didactic notion that reality is always better than a synthetic replication. You can’t comfortably have both.

There is no soul, and no heart to the story. A good sci-fi is never merely about the effects, it's about the plot, character and thoughts they bring to life, all of which Valerian lacks in abundance.

The choice soundtrack, accompanied by the candyfloss aesthetic make for moments of fun, but it ultimately lacks the originality of the first.

There's a certain bloatedness to much of the first half, while the film in general lacks the balance of humour to hard-hitting found in Shane Black's superb Iron Man 3 and/or Whedon's two Avengers outings.

In many ways this is an adult Frozen with Gothic sensibilities by way of The Lord Of The Rings, making for a derivative pastiche of the past two decades' cinematic fantasy offerings.

Like Skyfall, Spectre is loaded with allusions to the previous films in the franchise, undoubtedly providing much glee for Bond fans. The nods, quips, and general formula that audiences have come to know soon becomes weary and tiring, however.

Legend crucially lacks almost any sense of gravitas, although the bold and brash approach does keep you entertained.

With a weak structure and little chemistry, Fantastic Four proves itself to be a franchise that was better off lost in space.

It's a good-looking film and the three leads hold our attention, yet the lacklustre plotting and lack of narrative drive undercut The Man from U.N.C.L.E.'s overall charm.

Ghost Protocol is action fluff, and on that level alone it works well enough.

By the third act all the stone-stepping plot points that get us from set-piece A to set-piece B start to wear thin.

Whilst the tone is off, and the talented cast wasted, Exodus is, at times highly entertaining, albeit unintentionally.

With Unbroken, Jolie fails to captures Zamperini's life, and she focuses too much of what he endured and how he survived such suffering, crafting a lacklustre and dull film about an incredibly remarkable man.

The Imitation Game's approach is successful as entertainment but not totally satisfactory in providing greater insight into its subject.

Jackson's efforts have peaked and troughed, but this final chapter will undoubtedly satisfy fans, and kindle a sense of sadness as this hobbit's tale finally draws to a close.

With Yves Saint Laurent, Lespert has played it safe but stylish, and pulls it off thanks to some canny casting choices and a refreshing focus on mainstream appeal.

Despite its pitfalls, Maleficent entertains because of Jolie, who holds the wavering threads of Stromberg's spinning wheel together with aplomb.

As an audience, you're infected with the languor Abby suffers, realising that as pretty as Concussion looks and with such an interesting premise behind it, beneath the surface there is precious little to really sink your teeth into.

Sadly, In Secret's script is so loaded with dud lines that any of the more successful elements are quickly erased from memory.

The comedy is never hearty enough to be truly enjoyable, only managing a chain reaction of titters at best.

Binoche's potent performance [cuts] to the quick of the struggle to balance a passion for work with a commitment to family.

Leach's camera remains sympathetic to these characters. He doesn't judge, and for a time it is intriguing to see why these people are so obsessed with this myth.

To modern audiences the nostalgia and issues seem dated and trite. Whilst it touches on several interesting themes, Colin Welland's script only succeeds in establishing the tension of the two conflicting characters. He fails to truly engage with the issues at hand, and most surprising of all is how this sporting saga of triumph over adversity fails to ever uplift.

Ultimately, the attempt to over-deliver on themes leads to a serious under-delivery of dramatic impact. This is a disjointed film, inexplicably a classic for some, that fails to engage with modern audiences.

Rather than confront the guilt related to the sins of the past it paints over them in vivid colours, hoping the viewer will collude in its melodramatic muddying of the water.