Tom Huddleston

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.

The soundtrack is crammed with ’60s and ’70s pop gems – several of them instantly familiar from Scorsese’s movies – while the colour palette is all muted corduroy brown and rainy urban grey. The result is less a homage than a slavish, overproduced cover version, lacking all the spark and integrity of the original.

Using home-video footage and talking-head interviews, Dinosaur 13 dramatically depicts the thrill of archaeological discovery. But the overbearing soundtrack and shots of weeping palaeontologists do feel a touch manipulative.

Thank the gods of war for Antonio Banderas, who single-handedly steals (and almost saves) the show as a loquacious assassin.

Extreme cinema aficionados will doubtless get major kicks from Moebius. For others, the cumulative shocks are likely to induce weariness and boredom.

Overall this is giddy, ridiculous fun, a witty, wacky and wonderfully generous sugary gift of a film.

Strap on your swordbelt, buckle your sandals and oil up your rippling six-pack, because here comes yet another interminable, CGI-drenched mythic mish-mash with far more money than brain cells.

It may lack its predecessor’s lofty ambitions, but once the bullets, spears and hairy fists start flying you’ll be too wrapped up to care.

Psychologists would doubtless have a field day with the film’s lumpy brew of semi-incestuous paternal angst, midlife machismo, all-American dick-swinging and moderate racism, but we imagine most of them are too busy to waste two hours on this sludge.

There’s too much story to cram into one film, with the result that the three surly teenagers themselves – who would have made far more compelling central characters – are pushed to the side. And with their own legal team surely keeping a close watch, Egoyan and his scriptwriters are unable to point fingers in any meaningful way. A missed opportunity.

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.

There’s a lack of subtlety or surprise which serves the story poorly... That said, it’s a thoughtful, timely, often quietly captivating drama.

22 Jump Street knows how to play to its strengths: Tatum’s performance here is even more puppy-dog lovable than last time, and his scenes with Hill possess a goofy, low-key warmth too often lacking in big-budget comedy.

As a procedural study, Night Moves is undeniably effective: The buildup is slow, painstaking and intense, the fallout inevitable but still shocking...But the soul is somehow missing.

Any film that teams up gruffer-than-thou icons Shepard and Johnson is bound to go heavy on the testosterone, but Mickle undercuts all this strident manliness with a rich vein of self-mocking wit and paternal angst.

The film’s blanket refusal to question its subject feels not only cowardly, but antithetical.

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.

There’s plenty to enjoy – a handful of smart one-liners, a few nifty shocks and one truly unsettling confrontation in a cemetery – but nothing to give Joss Whedon a run for his money.

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.

This is the director’s most vivid, most emotional and humane film, and perhaps his best.

First-time feature director Omid Nooshin makes the best of a minuscule budget, and his punchy script doesn’t brake for breath.

The result is a film that starts with a bang and ends with a shrug, but keeps us entertained throughout.

The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.

An overlong, at times almost plot-free soap opera that introduces a wealth of characters and dips into a wide variety of subplots but never comes together as a story.

We Are the Best! is a joyous celebration of youth, friendship and rebellion, and if there’s a nagging note of regret and bitterness it never manages to undermine the overwhelmingly compassionate tone.

There’s nothing wildly original here, but it’s carried off with charm and wit, and two very enjoyable central performances.

The characterisation is feisty and memorable, the song-and-dance sequences intricate and colourful, and it’ll charm the socks off little people.

This microbudget indie about a pair of brothers in small-town USA looks great, sports strong performances and doesn’t outstay its welcome. But it’s impossible to shake the feeling that we’ve seen all this before, and better.