You'll soon be sick of digital furballs, but there’s plenty of fun here.

The best zombie-ish apocalypse in years. Sennia Nanua is a major discovery, but it’s the dense social commentary and moral dilemmas that will haunt you.

Despite some smart, brittle dialogue and the classy cast, this seldom rises above the routine and is basically a bittired and terribly 60's.

Does Deep Cover work as an improv comedy? Yes, and it delivers strong characterisation, a twisty crime story, and great performances too. End scene.

The tension between the intended tribute and the lack of success on-screen makes for a muted viewing experience, but as a document of what were likely the waning days of American empire, and the curious priorities its agents chose during them, this is fascinating.

This Is It delivers neither the full-on Jackson stage experience or a revealing portrait of his complex mindset. Yet it does not dishonour his memory and you can’t deny the power of the music.

As well as a gifted photographer, Rock is a raconteur, with the subjects of his stories needing no introduction. But the real stars of the show here are his pictures, and that is as it should be.

It may not have Lost In Translation's reach, but it's original and smartly funny with top performances.

Creepy and clever but rarely surprising, this horror hits its marks well enough, but fails to surpass its more rough-and-ready predecessor.

Some interesting creative choices make this more a curio than a great film.

A modest, taut nailbiter. It lets itself down in the final third, but for the most part Oxygen leaves you gasping for air. And Mélanie Laurent, in practically every frame, is terrific.

Remember the name Nana Mensah — as an actor, writer and director, Queen Of Glory is a hugely impressive calling card.

The gleefully Gothic fingerprints of Guillermo del Toro are all over this zippy excursion into Mexico's myths and legends, although the gag-count falls quite a lot short of Pixar greatness.

An entertaining and compelling story about music’s unsung heroes.

Harrowing and complex, this study in terror is not for the faint of heart.

It’s drifty, dreamy quality that, contrary to the film’s indie-cool ingredients, makes it eminently watchable and modern.

July's second film, while not quite as perfectly realised as her debut, nimbly avoids the 'sophomore slump', providing the curious with another window into her highly idiosyncratic world.

Challenging the truism that you can never go home, this doesn't entirely integrate its political subtext. But the storylines are involving, the setting is picturesque and the performances are impeccable.

A retrograde fantasy with the depth of a dressing-up box, but it’s spirited, genuinely funny and played to the hilt by an excellent cast.

Six years after "Little Miss Sunshine," Dayton and Faris deliver a comedy that sparkles with wit and substance. But from the script to her portrayal of the title character, Ruby Sparks belongs to Zoe Kazan, who joins the likes of Sarah Polley and Brit Marling in the rarified ranks of actress/screenwriter double-threats.

Lustrous photography and a fine cast make this dark drama a compelling one.

There's a Cronenbergian coldness to Olivier Assayas' corporate thriller.

Watching Blake Lively and Anna Kendrick trade barbs is entertaining, but Feig’s first thriller suffers from an unconvincing plot and inconsistent tone.

It still stands up as an upbeat portrait of pre-revolutionary Russia, and will have you whistling If I Were A Rich Man for days.

A seriously effective, incisive thriller which establishes Zoë Kravitz as a bold directorial talent, and shows you a side of Channing Tatum that you’ve never seen before.

The results are highly subjective perhaps, but highly entertaining just the same and make an interesting companion piece to Nick Broomfield’s "Biggie And Tupac."

This movie intrigues and disappoints in equal measure.

Play It Again, Eric... Ken Loach perfectly captures the feeling of football and the need for hope. Touching and hilarious — a blinder.

Over-the-top but blackly funny along the way.

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.

The business of this story in both versions is suspense, and Watkins is very good at ratcheting screws . . . but also springs satisfying reversals and pay-offs.

Even without his box of political tricks, Oliver Stone remains the foremost cinematic shrink for America's distress.

It sometimes over-plays its hand but, anchored by a terrific Jacob Tremblay, Wonder is a warm persuasive argument for tolerance. And it’s always great to have Julia Roberts back on the big screen.

Hughes has made funnier (Ferris Bueller) and better (Pretty In Pink), but this is the only one you could get away with calling iconic. Good and bad, it's still the definitive '80s teen movie - and, to paraphrase Simple Minds - don't you forget about it.

It doesn't have the dark edge of Joe Dante's other works, but brilliant performances by Martin Short and Meg Ryan make it a joy from start to finish.

Politically powerful, but filmically flawed.

With Redford giving one of his best comedic performances, helped by a Oscar winning script, The Candidate is witty and charming, while looking good and proving quite memorable, like Redford's lawyer.

Harry Palmer, charismatic but grounded in reality, is the perfect popular bridge between the spectacular escapades of Bond and the cold, harsh milieu of Deighton's embittered, betrayed spies.

Clever, original and terrifically witty.

A slight but consistently entertaining, thoroughly funny slice of life, this is Ben Wheatley untethered, letting off steam with a workout. It is a welcome carnival of misanthropy.

Deliciously funny and warming fare, for which the amazing Meryl deserves her ridiculously overdue third Oscar.

Coming from a novice director, the film is not as impressive as "Sense And Sensibility", but as a light-hearted and energetic comedy of who-loves-who? and small upsets, this works well - and it boasts Paltrow's star-making turn.

Bigger and, yes, darker than the first, this is less air-punchingly gleeful but probably more consistent. Thanks to Whedon and the most charismatic, compelling cast you’ll find anywhere, Age of Ultron redefines the scale we can expect from our superhero epics but still fits human-sized emotion amid the bombast.

Charming, handsome and full of pep – all 70 year-old Cap lacks is a knockout blow. Still, Johnston should be saluted for old-fashioned heart in a cynical age, while Marvel should be confined to barracks for cynical marketing.

Made with genuine affection and innately British whimsy, this is really just an odd-couple comedy about two lonely blokes — one of whom has a “washing machine for a tummy”.

Fleischer mastery of tension and attention to detail make this riveting story a great piece of cinema.

An, at-times, marvellous muddle of high farce and low-brow chuckles.

Not as revolutionary as Children Of Men, nor as wild as Attack The Block, The Kitchen is still solid British sci-fi with a social-realist flavour. An auspicious directorial debut from Tavares and Kaluuya.

A gripping, well-told, incredibly watchable thriller for a new generation of TikTok sleuths — and a compelling argument to up your average screen-time.

It also takes too long in the final act to write itself out of its plot entanglements, and ends up looking rather too pleased with itself.

Good central performances but short on plot.

It sounded like the dumbest movie of all time, but it’s actually smart, subversive and packed with famous voices saying wonderfully unspeakable things. In fact, it’s a banger.

Coming off like a peculiar mash-up of The Host and Dr Strangelove, Shin Godzilla is weirdly paced but does add a new twist to the old formula.

It may lack the subtleties and emotional wallop of a lo-fi musical like Once, but Sunshine On Leith delivers a bright, cheery, big-hearted smile of a movie.

Russell Tovey gives a layered, career-best performance in an intense interior drama that never quite shakes its theatrical origins.

In essence, Dark Star has what all great comedy has: a sense of desperation and pathos allied to an abiding humanity which elevates it high above the realm of mere spoof.

It may not consistently stay the distance, but the sublimely funny moments make up for an awful lot of misfires.

A potentially trite tale of an unlikely relationship is lifted immeasurably by Sophia Loren and is best viewed as a testament to the true power of the movie star.

A solid John Woo fu-action hero actioner from the 70s with a glimpse of his later promise.

A raw, vivid despatch from the frontline, this melds content with frights in classic Romero style. An outstanding exercise in showing the kids how to do it.

Part thriller, part character study, Cordelia is eerie and atmospheric, putting you in the fractured headspace of its desperate lead. An impressive dual achievement from co-writer/star Antonia Campbell-Hughes.

Walking a fine line between being a masterpiece and a dogs dinner, this movie strays into the latter, though giving some historical illumination to the movie-making process as it was in the 1950s. A white elephant.

Ruddy hilarious. Just what big-screen comedy needed.

Compelling performances and some stand-out scenes but this lacks the cohesive language of "Elephant," for example.

A very clever, stylish story of friendship, loyalty and betrayal.

Weird, but kind of cool.

With plenty of heart and soul, Devotion is an emotional spectacle, packed with soaring highs and gut-wrenching potency. It's another compelling performance for Jonathan Majors' increasingly impressive resume.

Less confrontational than most Solondz movies, in that it refrains from violence or kink, but still unsettling and affecting.

The ambitious, initially intriguing Dead Again fails so spectacularly it may well become the fetish of a camp cult.

Creed II is to Creed what the Rocky sequels are to the original: a more generic, less textured take on familiar boxing movie tropes. The difference, it seems, is Coogler.

Ben Is Back begins with nuance but is let down by its familiar Drugs Are Hell tropes. Still, the pairing of the ever-excellent Roberts and Hedges keep it a largely compelling watch.

In some quarters this will doubtless be hailed as "gritty" and "realistic". Movies about junkies just aren't much fun, however, and to be really powerful or tragic they need to be a lot less hack­neyed and directed with more inspira­tion than this.

This is a gentler, less confrontational Solondz. It makes you laugh, but probably won’t leave you reeling after. Some fans of his might consider that a disappointment, others might find it a relief.

Not an altogether unsuccessful adaptation of the timeless Cinderella story, it certainly scores well in terms of lavish scenery, snappy repartee and brightly-coloured mayhem.

Niki Caro’s boldly reimagined, battle-laden saga belies its Disney status and spotlights the multifaceted star power of Liu Yifei. The result is a live-action remake done right.

Like good whisky, Loach is mellowing and becoming subtler with age — though a swift chug still has a bit of a kick.

Bond meets Star Wars in one of the series' sillier outings.

Not quite a showstopper, but this reflection on womanhood boasts noteworthy performances across the board, especially from Pamela Anderson and a surprisingly tender Dave Bautista.

Amusing and imaginative and, of course, beautifully animated, this movie has all the superficial hallmarks of a great Disney picture.

Frantic is Polanski's most satisfying film since Chinatown, and one of the best traditional thrillers to come down the pike in quite some time.

Tough on nuance, tough on the causes of nuance, this episode has the highest velocity and lowest IQ yet. See it on the biggest, loudest, dumbest screen you can find.

Sasquatch Sunset is a gloriously vulgar film about made-up monsters from children’s stories — but it is also a terribly melancholy adult story about the violence of progress. What a remarkable, unique, sad little cult oddity it is.

Bogiephiles who know their Sahara from their Sirocco may not find much new here, but anyone interested in early-to-mid-20th-century Hollywood history will discover plenty to spark further investigation. 

Russell's success, however, is in creating a film that avoids being freaky or an exercise in titillation by employing a mixture of sympathetic writing and black, black comedy.

Enormously entertaining, endlessly quotable, perfectly cast and packed full of the richest acting you'll see from an ensemble cast all year, but the result is ever so slightly hollow.

An impassioned ode to both the toys and their era, this, at last, is the Transformers movie we’ve been waiting for.

A frustrating but fascinating film, made by an evidently talented filmmaker, which never quite manages to resolve the tensions between its apparent moral purpose and the formal flair with which it depicts events it purports to condemn.

Visually arresting, with an enjoyably wacky premise, but scuppered somewhat by its rusty, clunky storytelling.

The script self-destructs, but the performances — including Daniel Stern as an expendable sidekick — are fun, and John Badham stages some super stunts with the insectile title machine.

Girls meets Ocean’s Eleven, The Bling Ring might be a film for right now rather than the ages, but Sofia Coppola’s heist movie is visually arresting, well acted, capricious fun.

Like "The Cover" and "Man On Wire," this documentary comes clad in the garb of a thriller. And a heck of a good one at that.

An urgent rebuke to a country losing its conscience, The Report is rigorous but riveting. And Adam Driver — once again — emerges as one of the most watchable actors working today.

Solid, but understated to a fault. Causeway’s biggest appeal is seeing Jennifer Lawrence and Brian Tyree Henry act up a quiet, powerful storm.

Unapologetically aimed at the arthouse crowd, this is superior filmmaking. Superbly acted and well written, it stakes its claim in the pantheon of love-gone-wrong watches.

A delight from start to finish.

More than an average thriller, but far from Lumet's finest hour.

It’s no masterpiece and admittedly slight at 85 minutes long. But Idiocracy is that rarest of things in this age of lazy laughs — a gutsy comedy with something to say. More importantly, it’s funny.

It sets out to be less pompous than similar films, which inevitably means it feels less substantial. While amusing rather than hilarious, it ought to establish Matt Damon as a star character actor.