Olly Richards

The best animated movie of the year and only a whisker shy of the brilliance of Wallace and Gromit.

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

Inspired by The Graduate it may be, but despite Aniston’s charm, this confused comedy will not be seducing anybody.

It suffers from ADD, but there's some terrific stuff in here. Leaving 15 minutes from the end and saving yourself a lumbering coda may improve enjoyment.

The Ocean’s Eleven: The College Years mood makes for a breezy good time, even if there is, like Vegas, precious little substance beneath the glitz.

A good old-fashioned horror in the best possible way, this is a beautifully told, terrifying ghost story that lingers with you long after the shivers have stopped.

The movie that brought a hip new sensibility to animated features and which still stands up in the age of Pixar and DreamWorks thanks largely to a blistering improv turn from Robin Williams.

A lean, atmospheric and acutely creepy little horror pic - nothing more, nothing less.

It’s essentially, y’know, for kids, but the dedicated fairy tale fan will have tons of fun spotting all the references. Adams, meanwhile, gives one of the comedy performances of the year.

If there's a criticism to be made, it's that the script doesn't push itself far enough with the moments in which it excels.

It's not on a gasp-inducing making-the-Statue-Of-Liberty-disappear level, but with its opulent presentation and confident storytelling, The Illusionist has the power to keep an audience rapt like a good old-fashioned card trick.

If you pay out money to see this, you got fleeced.

Structurally it’s a bit ragtag, but, as your mum would say, it has its heart in the right place. For all its wilful oddness it’s enchanting, imaginative and genuinely moving.

This is actually a very middle-of-the-road movie.

While cynics may find it twee, Mendes fans should greatly enjoy this (gently) surprising change of direction. Go in with the right frame of mind and you’ll leave with a big, goofy grin on your face.

Ultimately, Hidalgo falls down due to a neglect of basic story elements -- anonymous villains, a hero with no clear goal other than money, love interests who sound alternately gin-sodden and lobotomised -- and after a brief burst of energy staggers home at a mild limp.

It starts off very sprightly and witty and maintains a high giggle-count throughout.

Crediting its audience with emotional intelligence, this rises well above your usual rom-com-dram. But if you’re planning on seeing it with your other half, be warned: it might invite some uncomfortable discussions afterwards.

There's more here for the under-tens than over-, but it's still charming, amusing and energetic enough to win you over.

Like its slack-jawed clones, The Island is full of energy and incredibly pretty but burdened with only the minimum of smarts.

If you're a novice, this is a plucky introduction to Whedon's world and the most fun sci-fi of the year. If you're a devotee, this is the magnificent return you've been praying for.

While lacking the richness of its source material, it remains an enjoyable, immoral and sometimes beautifully Gothic tale.

Highly likeable, pleasantly unpretentious and plenty amusing.

Filmically it's more of a pleasantly diverting kick about in the park than a 90th minute back-of-the-net at the world cup final.

Intelligent, classy and skin-crawling. You won't see a better acting masterclass this year.

Ror all its cleverness, Emily Rose does have its hokey moments.

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

The dialogue is intelligent, but the humourlessness -- and the fact that most of the cast could use a good slap -- results less in involving drama and more in the viewer being held hostage in a 90-minute therapy session for the well-dressed and narcissistic.