Joe Walsh

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.

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

Captain America is simply awful. It is another hour and a half of prologue to the film people are apparently waiting for - The Avengers.

The Good Dinosaur is up there with Toy Story in terms of its technical achievement and for providing an equally heart-touching, emotional tale.

A great deal of love, intelligence and effort have gone into crafting a more mature rendering of the Wizarding World, where pertinent themes of segregation, racism, international politics bubble in the narrative cauldron.

While Chastain, and the surrounding cast, drive the narrative there is no denying that as time runs on it begins to unravel frustratingly, reaching an unsatisfying conclusion. Yet, Chastain's performance is one that lingers in the mind.

Ant-Man is a smart action adventure that breathes new life into a long-running franchise, told with a level of intelligence that reminds those beleaguered by the onslaught of superhero movies that the genre still has a lot to give when in the right - if not the Wright - hands.

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.

Vita and Virginia is a remarkably chaste and safe film given its wealthy subject matter.

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.

Yes, the cynical argument that Sony needed a franchise to hold its own against the might of Marvel may have something in it. But put the cynicism aside and what you have is a hilarious action-comedy that puts four great comedic women front and centre, with Feig dexterously balancing homage with originality.

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

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.

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.

Both tender and hilarious, Sisters is a raucous romp and complete catnip for fans of Fey and Poehler.

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

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.

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.

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

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.

T.S. Spivet is a dreamlike fairytale, which swims in the romanticism of childhood and the decay of the American Dream.

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

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

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.

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.

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

Like The Da Vinci Code and Angels & Demons before it, Inferno stumbles into the same pitfalls of convoluted plotting, kindergarten art history and conspiracy theories of the daytime-slot-on-the-Discovery-Channel sort.