On Swift Horses isn't a disaster, but given its stars and potential, it is a disappointment.

Craig's soul-baring, skin-baring turn aside, Queer is a proudly artificial curio.

Ali G Indahouse delivers more than its fair share of saucy hilarity.

A mischievously rib-tickling tale with a stupidly simple premise: Sellers plays an uninvited guest at a Hollywood party who loses his shoe and talks in a dodgy Indian accent.

A poignant, heartfelt tribute to a vibrant New York subculture and its flamboyant acolytes, captured on grainy celluloid, shortly before it got appropriated and streamlined by the mainstream.

Coming on like an art-house Dead Calm (on which it was clearly an influence) Polanski's drama is slow-moving to the point of inertia, but patient viewers will appreciate the creeping tensions and Oedipal undertow. Not easily accessible, but a film whose scenes and themes stick with you.

It remains what it always was: a charming, escapist fairy tale.

MGM's lavish adaptation of Enid Bangold's evergreen novel is an at times winsome but nonetheless enjoyable yarn that remains a popular favourite among adults and children alike, dealing as it does with the notion of endeavour and the conviction of pursuing one's dreams.

It's not a perfect film because it does take quite a while to bring you into the characters' lives and engage you in their fate but when that becomes ominously clear, you're hooked.

Certainly the youngsters in Children of Heaven respond well to the direction of Majid Majidi and give off emotions and thoughts in such an unmannered way that many proper actors could learn loads.

Branagh has done a sterling job, full of energy and colour, and although some of them might balk at his modern interpretation of the story, his Magic Flute will no doubt attract aficionados, if not the popcorn crowd.

If more attention had been paid to plot and characterisation, this would have been a great rather than a good movie. Even so, it stands as a cinematic landmark. Without it there may well have been no Dirty Harry or The French Connection.

With such a dramatic opening The Fly has a lot to live up to and what emerges is a sad story of considerable pathos despite the ridiculous plot.

Despite a brief lull midway through the 83 minutes, The Magician largely succeeds as a good short story, thanks to Ryan's captivating performance in the lead role. An unlikely road movie/buddy movie hybrid, it has all the makings of a cult hit among discerning DVD collectors.

The film's message may be a clichéd staple of comic books - with great power comes great responsibility - but it's handled with sincerity and skill.

Leterrier's achievement in assembling such a gargantuan, multi-stranded, globe-trotting, head-spinning blockbuster is impressive, but however many gruff sermons Dom makes about his family, it's impossible to care about any of it.

The film is interesting and informative, but all those bomb blasts don't leave you as shaken as they should.

The film has its entertaining, off-the-wall comic moments.

The best superhero movies let you ignore how ludicrous the plots are, but the silliness of The Fantastic Four is always in your face.

Twisters isn't bad, but a braver film might have admitted that addressing the causes of extreme weather might be more useful than throwing nappies at it.

This laidback crime caper doesn't have a great deal more to offer, but there is something to be said for seeing the pals from Ocean's Eleven on the same screen again.

As cluttered as it is, though, Blink Twice is stylish and savage enough to gain a cult following. And it is undoubtedly the work of a skilled writer-director, rather than an actor who is having a go at directing.

Parts of Dune: Part 2 seem just as monumental, lavishly bizarre and downright disturbing as anything that Jodorowsky and Giger can have had in mind.

Ramsay's film-making flair lights up scene after scene, but as the narrative fragments, and reality and fantasy blur, you're left with the urge to read the novel to find out what's actually happening. The film may have communicated its heroine's boredom and bewilderment a little too effectively.

They're all beautifully performed, and they all sparkle with Lanthimos's deadpan genius: in his world, everything is just off-kilter enough to be funny, but just real enough to be horrifying.

The story also ends on a touchingly optimistic note, which is unusual for a Batman film. Who knows, maybe the next one won't be quite as gloomy. Pattinson might even crack a smile. But I wouldn't bet on it.

Chalamet gives Dylan a defiant look in his eyes and through these later scenes creates a visceral sense of his restlessness, of how important it is for him to break free of the public assumptions about him, both musically and as the spokesman of a generation. You can finally feel an energy that can't be restrained and that should have been in the film all along.

As an emotional journey Day One has its moments. For a supposedly scary movie, it's a little bit sloppy.