Oliver Lyttelton

It’s worth the price of admission just to see Hardy’s Reggie performance, which is up among his best work. Still, the story could have perhaps used a more inspired hand at the helm.

Pulling off an ambitious mash-up of genres like Good Manners is no easy feat — that Dutra and Rojas pull it off so successfully suggests we’ll be hearing a lot more from them down the road.

It’s still evidently the work of a very talented filmmaker and is certainly never bad, but it also never lives up to its potential. Barnard has a long career ahead of her, but Dark River seems destined to be remembered, years now, as a minor work in her filmography.

Bone Tomahawk is a proper Western, a proper horror movie, and by combining the two, becomes something else entirely, and proves hugely enjoyable for it.

Star Trek Into Darkness is a long, long way from a disaster, but it's hard not to feel that Abrams' mystery box turned out to be a bit empty this time out.

The film contains some memorable moments, and a pair of fine performances, but it’s hard not to feel that it would have proved more successful if it had stayed on the path it was heading down for the first forty minutes or so.

The film’s well-written, beautifully performed (not least from Huppert, who’s typically stunning as her icy, grief-stricken matriarch, and the moving Servillo, of “Il Divo” and “Gomorrah” fame), and nicely made, if a good 15 minutes overlong.

Every time the picture opens a fascinating door, you're held back from going through by a naff filmmaking choice or a rote story move.

Even if the film isn’t entirely to my taste, it’s a provocative and powerfully made piece of work.

22 Jump Street might not be quite as good as "21 Jump Street," but it's remarkably close, to the point where subsequent viewings could see it elevated above its predecessor.

For the most part, the breadth of its examination of the subject is welcome, and by the end, it ends up feeling like as definitive a film on comedy and the Holocaust as you could ever want.

The film's not merely content with being a twisty psycho-thriller. Boyle and Hodge expertly tweak and tinker with your sympathies, and the characters you initially peg as heroes and villains may not be in the same place by the time things wrap up.

There are moments of beauty and charm, but also ones that felt rather broad, like an extract from a live-action Disney movie or something. It is fitfully interesting, but nearly broke our twee detectors.

The book is so counter to our contemporary narrative demands that liberties would need to be taken for a movie version, and for the most part Osborne takes the right liberties, ending up with an extremely beautiful, very charming, thematically rich take that’s sure to be one of the better animated movies this year.

As ever, Moretti creates a rich and incredibly detailed world, one where every character has a life that stretches far beyond their on-screen scenes.

The Winter Soldier is probably in the upper tier of Marvel pictures in terms of quality, but ultimately proves too muddled and frantic to match the heights of "The Avengers."

The film is very, very funny, consistently.

Wuthering Heights is a model of how to bring a classic novel kicking and screaming into the twenty-first century.

Trier’s sensibility for the dynamics of family, for the depiction of nebulous memory, and for the detail of life (the film’s full of beautiful, complex scenes), means that I’m already eager to take a second look and see what else there is to unpack.

Coppola's screenplay neatly restructures Franco's source material into a deceptively tight narrative, and mostly proves to be raw, authentic and often very funny.

From a procedural perspective, the film is an insightful look into the life of a Secretary Of Defense, but as an exploration into how the war in Iraq was allowed to happen, it’s much, much less satisfying

Alps has proven Lanthimos to be one of the most fascinating filmmakers anywhere right now.

It's fascinating, warm and immensely watchable stuff, and fans of both Jackson and pop music in general will surely eat the film up.

It's a stinker of an ending tacked on to a disappointing third act (which is at least lifted up by Bartlett's performance), and it's a shame because so much of what went on before was so good: a tender, unsentimental, unexploitative look at an existence that all too many people have, and what it is to be someone who looks after them.

There are pleasures to be found in "Chicken with Plums" to be certain, but we'd hope for something a little more satisfying next time out from the directing team.

While it’s an awkward, uneven picture, that doesn’t mean that it isn’t a fascinating one.

Mostly, the film's very funny, Sono displaying a sense of how to frame and time a visual gag that feels positively Zucker-ish. But there are real stakes, and bursts of real feeling too.

The film is a sickly enjoyable wallow in the scandalous, fucked-up side of showbusiness, and a real return to form for the filmmaker.