Cage and Wood make a hugely enjoyable double act (has True Detective season three been cast yet?) in this deceptively dark thriller with comic undertones, arguably sunk by a seismic tonal shift that not only wipes the smile off your face, but leaves a bad taste in the mouth. Tune into its offbeat frequency, however, and there is much to enjoy.

The funniest, most deliciously venomous Jane Austen movie ever made, and conclusive proof that, a) Kate Beckinsale has been seriously undervalued by the movies and, b) Whit Stillman is a major, distinctive talent.

Quick on its wits and fast with its fists, this is Black firmly back doing what he does best. And nobody out there does it better.

Considerably better than its predecessor, the central four may give it their all but the people behind this franchise sadly don’t seem all that interested in their crime-fighting, pizza-eating heroes.

The ambition is laudible, but it's to little end. At once empty and impenetrable, this brings to mind a mix of John Carter and Dungeons And Dragons, regrettably in both themes and level of enjoyment.

An adaptation of the Dave Eggers novel that struggles to make itself stand out, content instead to coast by on gentle comedy and Hanks’ charm. Pleasant but ultimately forgettable.

A fast-paced, entertaining, if somewhat on-the-nose mélange of thriller, satire, and drama, this is Jodie Foster’s best movie as a director. And we’d happily watch any TV show George Clooney wants to host.

Wasikowska gives it her all, and Cohen shines, but while this is a better film than the first, that was a low bar to reach.

This 1967 Ming Dynasty epic may lack plot complexity and period spectacle. But the stand-off in a remote inn is flecked with tension, wit and slick martial artistry.

Messier and heavier than Days Of Future Past, this is not so much the next step in the X-Men’s evolution as a failed callback to past glories.

Terrence Malick’s Hollywood tale is a frustratingly fleeting experience, a sleepwalk through Tinseltown that beguiles you with its visual artistry but leaves only the faintest of impressions when the curtain falls.

It rarely makes sense – the script vastly overestimates the power of the hashtag as a weapon of mass destruction – but you’re never bored.

Just as with "Once" and "Begin Again," Sing Street will make you laugh, cry and leave you humming its songs for days.

A preposterous premise that never makes sense. A tedious thriller that offers no thrills. An A-list cast reduced to C-list material. Piers Morgan. We can but pray that scientists invent a procedure to remove the memory of ever watching this film in the first place.

A fizzy, funny, period dramedy with top-notch performances, Florence Foster Jenkins doesn't take many risks but it's a very entertaining experience. And yes, she was that bad.

Vallée’s post-traumatic stress comedy is more scientific than genuinely moving. Nevertheless, Gyllenhaal continues his post-Nightcrawler upgrade with another vivid performance in the key of strange.

Hiddleston and Olsen impress, and the music remains golden, but this is just another by-the-numbers biopic.

A perfectly pitched blast of nostalgia, which will transport you to that time in life when the future stretched before you and anything seemed possible.

A riotous, rough-hewn and rousing punk reinvention of ’70s-style grindhouse exploitation-with-a-brain-cinema.

Nothing is taken seriously, and there’s a nice mix of old groaner jokes delivered with a visible wince and genuine, sneakily erudite wit.

Matching its blockbuster scale and spectacle with the smarts of a great, grown-up thriller, Captain America: Civil War is Marvel Studios’ finest film yet.

The late, great Robin Williams brings great nuance to the anguished Nolan’s inner struggle in a slight but sensitive story about a man facing a life-changing choice. It’s a worthy legacy for a beloved, talented and much-missed actor.

Given the wealth of footage available, you can’t really go wrong with docs on the Apollo era – and yet amongst all that, Cernan is compellingly frank about the human costs of spaceflight.

A largely inventive and energetic portrayal of a past-their-prime music legend that’s let down by its unnecessary trad biopic beats.

Wonderful to look at, this is a more adult, more complex affair than its animated, and more entertaining, forebear. Still, it’s Disney’s best live-action adaptation yet.

So much more than a one-take gimmick movie, Victoria is a stunning cinematic achievement. Full of twists that feel authentic and believable characters, it grips from the first compelling frame to the last.

It's a tight thriller played out smoothly but tying the viewer in moral knots. A film to think about for days, with little hope of finding a comfortable answer.

Comedy for grown-ups that sometimes struggles with its ambitious brief, but always remembers that the best laughs contain the odd shard of shrapnel.

Once again Audiard articulates big themes within a mosaic of everyday struggles. A painful yet rewarding tale of social strife and uplifting resilience.

Well intentioned and played, this shows flashes of what could have been, but is ultimately let down by its timidity towards the maths, and fails to make the case for its own hero’s greatness.

Nichols mounts impressive visual effects and frantic bursts of action.... But the film’s strength is in its humanity rather than its super-humanity.

Visual inventiveness and spectacular casting can’t quite salvage a muddled fantasy epic that, if it were a magic mirror, would be held together with gaffer tape.

It’s a mesmerising turn from Wiig, but the script leaves her working overtime to carry a story that doesn’t delve much deeper than its initial premise.

There are moments that make the whole enterprise worthwhile, and introduces an intriguing new Batman. But it’s also cluttered and narratively wonky; a few jokes wouldn’t have gone amiss, either.

On paper, this could have been excellent; as it stands, it’s painful and futile for all involved. Much like the Afghan conflict itself.

A notable, unusual existential thriller that is psychologically acute without the need for Oscar-clip self-pitying speeches, it’s also terrifically suspenseful with a provocative punchline.

Batshit crazy. Don’t expect a thriller in the seat-edge sense, but you will be thrilled — and repulsed — by this bold, faithful adaptation of Ballard’s ever-prescient picture of First World strife.

It has its moments, but it blows the interesting premise — the resurrection of Jesus told as a mystery — too early for an overlong, overly religious finale.

Despite the striking photography, this fascinating denunciation of 150 years of persecution and oppression lacks Guzmán's customary trenchancy and restraint.

Cheap and cheerless, Norm’s appeal melts faster than the polar ice. With characters so completely devoid of charm or entertainment value, even David Attenborough would call for a cull of this lot.

Abrams’ you-didn’t-see-this-coming announcement was an effective piece of theatre, which the film itself ably lives up to. A thriller that winds you tighter and tighter before its secrets come tumbling out in a cathartic finale.

Instead of bringing much-needed clarity, Allegiant piles on yet more bamboozling mythology to flummox and confound.

A visceral, artful horror about childbirth and trauma released in the UK just in time for Mother’s Day.

A hugely assured debut, The Witch is a beautiful, bleak brainworm that will haunt you for days.

Rather than the cynical ‘one last grab’ of the series, Kung Fu Panda 3 might actually be the best. Also, and this is so rarely the case that it’s worth mentioning, it deserves to be seen in 3D.

It’s a film that doesn’t so much invite you to switch off your brain as take it out and dump it in the nearest popcorn box.

An atmospheric rite of passage that suggests big things lie ahead for its writer-director and young cast.

The setting is glorious and Dormer is on form, but the scares can’t match either.

A humdrum remake of a crackerjack thriller, this never gets out of second gear despite a classy cast and intriguing premise. Credit to Dean Norris for playing a character called Bumpy with an entirely straight face.

As a counterpoint to the (much better) "Spotlight," it’s a fascinating look at modern journalism – but perhaps not always for the reasons its makers intended.

A solid haunting-possession movie with good character work and unusual local colour, this works in a few surprises, sufficient scares and a nicely barbed punchline.

Merrily gruesome black comedy.

It may occasionally shock a laugh from you, but between those moments your face will be a rictus of horror.

Aiming squarely at Carries, Mirandas, Charlottes and Samanthas, How To Be Single is familiar but fun.

A landmark film book gets its just deserts. The cleverly curated clips are stunning and the analysis thought-provoking in this richly rewarding piece.

Anomalisa has more heart, soul and pathos than 99.9 per cent of live-action movies. The best hotel-set love story since "Lost In Translation."

Brimful of glorious sounds, this affectionate fan letter says as much about Pops Staples's artistic and political evolution as it does about his devoted daughter, one of the all-time greats.

The interesting world of the film doesn’t get the story it deserves.

Ralph Fiennes dazzles as a rock’n’roll maverick in a stylish, unorthodox erotic drama that tries hard but fails to maintain its eccentric momentum.

So many films address the premise because it’s always thought-provoking and affecting. This also has a bleached, depopulated, effectively catastrophe-struck feel and an intriguing adult-and-child road movie storyline.

Strong subject matter and a superb cast are treated disappointingly with sledgehammer subtlety.

It has a nice line in wry chatter and a pleasantly old-fashioned ‘lost posse’ plot with engaging, odd characters striving against the wilderness while swapping cynical frontier wisdom.

A strong cast and impressive action sequences can’t find subtleties or surprises to enliven a rote period disaster movie. It hits the right points, but mechanically.

The franchise squeaks past with a so-so sequel that barely improves on what came before. Our only hope is that at some point they'll have to hibernate.

The sheer terror of Meru Peak, the mountain-climber’s ultimate nemesis, is confronted in a vertiginous, breath-stealing video diary. Book a back seat at the big screen, and don’t look down.

It’s fun to take another turn with Derek and Hansel, but they probably don’t have another season in them.

Writer/director Peter Landesman has turned out a film that nonetheless remains desperately conventional and never communicates that sense of inspiration.

The sheer number of dick jokes will soon numb you to their impact, but this is a fun, if patchy, alternative to the glut of ‘the world is about to end unless we do something’ comic-book films.

This is a fascinating insight into the mind of the Nobel laureate and his city muse. Coolly intelligent and noirishly compelling.

It’s not like the film is hollow — hidden at its heart, in fact, is a struggle for the soul of Hollywood — it’s just that it feels more like a series of pleasant diversions rather than a single, solid journey.

It has a strong, game cast but this is karaoke filmmaking, trading on nostalgia rather than breaking new territory. Affable but forgettable.

The astonishing true life story of The 33 deserves a better movie than this. Trite above and below ground, it is not suitable for miners. Or anyone else really.

Although packed with compelling archive footage, this never quite gets into Joplin's head, heart or soul.

A joyless and pointless remake. The new take on Bodhi and co. squanders a potentially enjoyable premise and rarely delivers, except on the occasional stunt.

This modern riff on Monster Squad is a very pleasant surprise, and so ’80s in spirit that it’s a shock one of the villains isn’t a giant Rubik’s Cube.

It feels terrestrial rather than cinematic, but the joy of Trumbo is in the heroism of its subject and an amazing performance from Cranston.

The premise promised Regency class and Romero shocks. The results, though, are only intermittently entertaining, and a better adaptation of Austen than a monster mash.

Eddie The Eagle turns a long-running joke of British sport into a crowd-pleasing story of inspiration. It’s a solid gold winner.

Switching from dour humour to humanist drama without seeming contrived, this is a masterclass in combining character and landscape that is played with deceptive poignancy by the excellent leads.

An Alpine study of ageing and creativity that’s as fresh and bracing as the mountain air, although occasionally just as chilly.

The archive footage is compelling, but the soundtrack is a muddle of voice-over, music and effects.

Sparks fly, but the grim cynicism of modern politics adds subversive weight to the film’s screwball comedy stylings and has a lot to say about modern politics, in the US as well as abroad.

It might also be the case that the film is more taken by emotions, beauty and passing fancies than plot and character.

Witty, absurd and far more entertaining than it has any right to be, this could finally shed light on the financial crisis for those of us who found it all too boring to contemplate.

Everything that comes after the confident, dangerous first half-hour just makes you pine for what could have been as this devolves into ten-a-penny teen-lit sludge.

Luckily, the two leads’ chemistry make it a happy, if not completely satisfying, ending.

Heather Graham and Maika Monroe add heat to this handsome, slow-burning thriller that lacks the urgency of Bahrani’s previous effort, "99 Homes."

On a par with "Inglourious Basterds" and "Django Unchained," The Hateful Eight starts low-key but ultimately delivers big, bold, blood-soaked rewards. Roll on, QT Western number three.

More interestingly, it paints the Bolshoi as a microcosm of Russia, in thrall to tradition but beset by greed, backstabbing and corruption.

It’s a riveting, complex film that asks one simple question: what do you do when there’s no right answer?

The best Rocky film since the original, honouring the Stallone legacy while setting it in a different direction. Feel the need. The need for Creed.

Tough, but resilience is amply rewarded. If last year’s larky Frank suggested Abrahamson was a director to watch, this makes him a director to be cherished.

Director Hui shows a different side to Hong Kong cinema in a tender drama that's illuminated by the marvellous Ip.

For all the special effects and half-starved A-listers, this is a sodden beast. Perhaps there’s a reason that Melville only told half the story.

Charming in that neurotically adorable way Charles Schulz established over many years, this is a fond continuation of the Snoopyverse.

Redmayne’s transformation may grab the headlines but it is Vikander’s touching turn that steals the show. Sedate, certainly, but The Danish Girl is touching, timely and exquisite.

If it all ends in cornball reconciliation, the dumb, fuzzy smile it leaves suggests it’s well earned.

Refocused on the hoof after the catastrophic 2014 earthquakes, Jennifer Peedom's film pulls no punches in exploring the culture and work of this unheralded group, as well as their frequent exploitation by Westerners.