Tom Huddleston

Good Kill is a dour, claustrophobic film, offering an acute and stunningly photographed exploration of middle-American banality and moral ambivalence.

Denial cries out for a little more subtlety.

Folman’s vision is just too personal and obtuse, and the result can feel rather like watching someone else drop acid, enjoying their giddy descriptions of all the pretty colours but unable to fully engage.

It doesn’t entirely hold together; the relentless din and repetition flips from thrilling to exhausting and back again more than once. But in those moments when everything clicks...this is absolutely joyous.

It’s ironic, but Keanu might be a better movie if it was more like TV: 90 plotless minutes of Key and Peele just goofing around on the mean streets might’ve been something really special.

The picture it paints of America’s frontline intelligence services – confused, internally quarrelsome and completely in hock to corporate interests – is fascinating.

It’s undeniably entertaining – and worth seeing for Kingsley alone – with the misfires never fully overshadowing the moments of glory.

It’s always fun to watch scaly, skyscraper-size behemoths lay waste to civilization, but a bit more human drama wouldn’t have gone amiss.

Willow Creek doesn’t take us anywhere new – the climax is abrupt and unsatisfying – but it’s a whole lot of jarring, juddering fun while it lasts.

There’s something rather bland about Veronica Mars – even the murderers have neat hair and nice clothes – and the largely forgettable cast don’t help. But the one-liners are sharp, the plot unpredictable and the whole thing ticks along with a minimum of fuss.

Overall, Bleed For This is difficult to dislike: the story may be hokey but it’s real, and so is the sentiment behind it.

As with all of West’s work this is a good-looking, well acted film shot through with moments of real power, but its conventionality is troubling.

For lovers of old-fashioned horror, this is your bloody Christmas.

With solid performances from all three leads and lovely twilight photography, the stage is set for a heartfelt coming-of-age drama – but the dire script has other ideas.

This is one of those romances where the woman only exists to be a figure of worship for a nerdy, socially awkward young man, whose side we’re meant to take unquestioningly. Sorry, Pif, but you’ll need to try a bit harder.

This ridiculous, highly watchable, at points startlingly psychedelic action thriller is probably Luc Besson’s best film since ‘Léon’ (which isn’t saying a great deal).

Breathlessly paced and surreally funny, ‘The Boxtrolls’ fizzes with visual invention and wild slapstick. But the grotesquerie is overbearing.

At just under two hours, the sheer relentlessness can become exhausting. But if you’re a fan of unfettered action, this will be a rare treat.

Anchorman 2: The Legend Continues is not the disaster some feared it might be, but neither is it the endlessly quotable, deliciously idiotic follow-on so many of us were optimistically anticipating.

Role Models isn’t trying to reinvent the wheel, just polish it up a little. What emerges is a memorable slice of modern slapstick, with charm to spare and just a touch of soul.

It takes a while to find its focus – and takes itself just a little too seriously – but as low-budget Ozploitation goes, it’s snappy and effective.

This is a messy, poorly structured film, riddled with plot holes and lacking any kind of satisfying conclusion.

Never less than slick, precision-tooled multiplex entertainment, Kingsman hews close to the formula Vaughn and his co-writer Jane Goldman established in their superficially similar "Kick-Ass": hyperspeed action, pithy one-liners and grotesque ultraviolence.

The Commune may veer towards sentimentality in the final act...but overall this is a warm, sharply characterised and absorbing melodrama.

An unbalanced but never less than entertaining film, enthralling and deflating in roughly equal measure, and studded with moments of true, old-school glory.

Bits of Allied really do work. There’s a clawing tension to the later scenes, as their marital bliss starts to turn sour. Pitt’s anguish is convincing, and even if some of his actions are ludicrous – endangering an entire Resistance cell for his own peace of mind, for instance – we still feel for him.

It’s all a bit heavy-handed at times, but this is a sweet story honestly told.

There’s no escaping the fact that this is a nasty, vicious little film – the climax is startlingly unpleasant. But with its sharp dialogue, beautifully streamlined story and fistful of surprises, the Mel haters are going to have to find another brickbat for now.