It's always trying to do something unusual. It has a great lead in Pegg. What it doesn't have is an ending or a clear reason what it wants to be.

Even if you think you've seen this story too often, Big Bad Wolves will surprise and enthrall. A thriller which bites deep, it has a light touch which finds humanity even in the worst horrors.

Like Saudi Arabia's "Wadjda," Burshtein's film is a groundbreaking first - the first Israeli film to be directed by a woman - and although it lacks a little of the emotional heft of Haifaa al-Mansour's work, it's a well acted and delicately told tale.

Indigestible Christmas stodge.

Some developments seriously stretch credulity and the dialogue doesn’t always ring true. But the performances — including a sinister, matronly Kerry Fox — are as enjoyable as the tawdry film noir vibe.

Middle-earth's got its mojo back. A huge improvement on the previous installment, this takes our adventurers into uncharted territory and delivers spectacle by the ton.

Despite the odd rip-roaring tune and some sturdy performances, this yuletide tale is as memorable as last year's sprouts.

Another shake-and-bake Stath special, boasting the requisite punchy-fighty action and some pleasing sleaziness from Franco and Bosworth, but it's ponderously handled by director Fleder.

A vibrant, insightful film about writers and writing, featuring Daniel Radcliffe’s best post-Potter performance.

A fun and frothy mock-doc with a message buried in its axle.

A charming road movie that develops into a full-blown study of life and roots, offering a beautiful insight into the way families migrate and change.

The plot’s all over the place, but there are a lot of laughs and some strong action beats along the way.

Part fishing documentary, part filmmaking experiment, Paravel and Castaing-Taylor is remarkable, disorientating and unique gem.

Not bootiful.

A remake that doesn’t see the legacy of Carrie White burn in hell. But not one that adds much to it either.

This is not a simple story of an uptight English woman induced to loosen up by those freedom-lovin’ Yanks, but a delicate and brilliantly acted story of overcoming the past to embrace an uncertain future. Emma Thompson, in particular, is magic.

It may be contrived and nothing new plot-wise, but In Fear has atmosphere and enough proper scares to deliver on the promise of its title.

Dramatically it’s bitty, with, to paraphrase a great American newsman of the time, too much, too fast. But there is no denying how absorbing the tumultuous events of those four days remain.

Another to airbrush out of the De Niro back catalogue.

Anchored by two of the most natural, committed performances you’ll ever see, Blue Is The Warmest Colour is the most moving love story of the year.

Defying rote heroics and sidestepping those solemn Frodoisms lurking in the role, Lawrence seeks out the complex, human and earthy in Katniss, still the beating heart and total triumph of these movies.

Dismal, cliché-ridden stuff.

Bitty and frustrating, its bigger laughs are set against some off-balance storytelling and crude comedy. Not one to take your nan to.

Manipulative and preachy, The Butler is redeemed by a sensitive performance from Forest Whitaker and the undeniable power of the events it depicts.

Tying up his trilogy in style, Seidl's film unsettles and provokes with wit and composure.

A strangely drab adaptation of Diderot's much racier novel.

While not always penetrating the myths around the man, this is a hugely entertaining look at one of Hollywood's larger than life figures.

A largely dour romantic drama, hampered by thrusting non-actors into challenging lead roles.

A moving treatment of a deeply personal subject (France's own partner died of an AIDS-related illness in 1992), and an enthralling depiction of a seriously fired-up popular movement.

Jollied up with some fun anecdotes from Hollywood's great and good, this is entertaining, if hardly hugely revelatory stuff.

The mesmerising García and sensitive direction by Lelio light up this delicate yet spiky drama. Terrific stuff from both Chileans.

Flat as day-old beer.

Short Term 12 is a miracle of a movie. Beautifully written and perfectly played, all of human life is here: the good, the bad, the messy and the uplifting.

A terrific, sophisticated comedy that tackles serious issues with a lightness of touch and a spirit of steel, Philomena is the British film to beat come BAFTA time.

Ridley Scott finally gets to put Cormac McCarthy on the screen. It’s no No Country, but despite its less successful elements is shocking, powerful and — this just in — more gorgeously written than any movie you’ll see this year.

It admirably avoids many of the pitfalls of adapting this book, but seems to have lost some of the life and pace as well.

For a movie that has dark in its title, and which is — yes! — darker (people die, Asgard is grimier, as befitting Alan Taylor’s Game Of Thrones heritage), Thor 2.0 is consistently amusing.

Sumptuous and self-indulgent, Sorrentino's latest is a Fellini-like feast for the eyes.

A fluffy but fun telling of a rags to riches story.

With Eastern Promises and Dirty Pretty Things, screenwriter Steven Knight has proved his ear for London's darker rhythms. Here, though, there's little to raise the pulse.

True to the Jackass formula, some gags come off better than others, but there's some doozies in its midst.

A stomping good documentary.

Loveable - especially if you're as fond of a pun as we are - and extremely silly.

A terrific human drama about two boys about to be consigned to the scrapheap, with standout performances from its young leads.

If not quite on the level of Garbus's terrific Bobby Fischer documentary, this still filled with fond recollections of Mazza's life and career. Fans will relish it.

Another quiet delight from Koreeda.

Gordon Green follows up a pair of execrable comedies with a wise and witty slow-motion road trip that catches the sun.

For a long stretch of the second act the film feels like doing a long stretch, but Schwarzenegger’s having a ball as Stallone goes through the motions.

If you want to see Paul Giamatti as a snail - and who doesn't - you've come to the right place. If you don't, wait for Cloudy 2.

Both Greengrass and Hanks are on award-deserving form in a riveting, emotionally complex and hugely intelligent dramatisation of a real-life ordeal.

Unsurprisingly, considering the circumstances, this is less a meticulous study of photojournalist's art than an privileged and emotional look at the life of a friend and colleague.

Writer / director team Kureishi and Michell add to their partnership with an insightful look at life-long commitment.

Disappointingly dull account of a tale desperately in need of a sharper screenplay and some directorial vim. Might as well wait for the Blu-ray, Jules.

Violent, silly, embarrassing, clumsy, confusing, juvenile, occasionally offensive, occasionally a little bit fun.

Pop quiz, hotshot: you’re cut loose 375 miles above the Earth, oxygen is running out, communication is lost, catastrophic satellite debris is heading your way and you have no hope of rescue. What do you do? What do you do? The answer is the film of the year.

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.

A muddle.

Good intentions, vivid setting and TLJ on top form do not make up for a lack of anything truly compelling.

A bulked-up James McAvoy dominates the screen in this razor-sharp Glasgow smile of a black comedy, packed with aberrant sex, hard drugs and maximum David Soul.

Macdonald's film is a noble stab at bringing Meg Rosoff's YA novel to the screen, which sees Ronan in typically watchable form.

However exotic the locations and starry the stars, there’s no escaping this is The Devil’s Advocate of online gambling. Fold.

A thin soup of weak jokes and contrived drama.

Fondly conceived but short of that razor-sharp Jane Austen wit.

A decent, cogent, greyly atmospheric thriller with something to say about War-On-Terror America.

Allen’s best film in years, astute, humane and shot through with keen observations on the state of the world. It may also, in its pondering the price of deceit and the pain of rebuilding a life from nothing, count as broad social allegory.

It’s handsome, involving and stars the cream of British acting talent — but so did Lean’s unbeatable version, and Newell and Nicholls’ safe, schoolteacher-friendly interpretation makes no real case for going down this much-travelled road once more.

High in gloss if not necessary insight, this is manna for fashion fans but a marginally slighter piece of work than The September Issue.

More terrible and tacky than one could have imagined, it will soon be forgotten and consigned to the True Movies channel to play alongside television movies about Karen Carpenter, Jayne Mansfield and Jackie Kennedy.

Confusing and uninspired rather than completely inept, it’s still likely to be swiftly struck from the résumés of all involved.

Already a hit in America, 42 is a well-told but square biopic doing justice to Jackie Robinson rather than exploring him.

The Kids Are All Right writer Stuart Blumberg's first directorial effort is a frothy affair with typically strong turns from Ruffalo and Paltrow.

Shot in magisterial black-and-white, veteran director Trueba's drama is a welcome return from the Belle Epoque man.

Sweet, witty and exquisitely observed, In A World... sees the emergence of an exciting talent: any agents looking for a new triple threat should ring that Bell.

Lincoln meets Sudden Death: a corny but raucous throwback to when Planet Hollywood was hip. Gary Busey popping out of a rose bush wouldn’t feel out of place.

A sometimes over-simplified but often affecting look at forbidden love.

Charming, if disjointed, it’ll give you one hell of an appetite.

A deeply affecting glimpse of a man's quest to salvage beauty from tragedy.

Slightly jerry-built reconstructions detract from an intriguing film with a unique angle on the country legend.

It rarely deviates from formula, but Rush wins big, delivering the most exciting F1 footage created for film. Like Hunt, it is sexy, funny, full of thrills. Like Lauda, it is intelligent, a bit blunt, but ultimately touching.

Overlong and often overcooked, this is nevertheless a relative return to form for Diesel as the fiendish Furyan.

More than just a time-travel rom-com, this is a movie that asks you questions and doesn’t sugar-coat as many of the answers as you’d expect. Smart and sweet, funny and genuinely moving. Should probably come with a ‘there’s something in my eye’ warning.

Offers plenty of easy nostalgia and Duris charm.

Angry, impassionate filmmaking that demands - and deserves - serious answers.

This does a serviceable job homaging '80s actioners but not a whole lot more. Go for the explosions, zone out for the plot.

A bang-on soundtrack will make the hairs on ex-ravers' necks stand up. The plot will have the opposite effect.

A film for every age, whether you’re an awkward kid, former awkward kid or awkward kid-adjacent. Funny, real and uplifting. A film that reaffirms your belief in the human spirit.

How to sum up? You have to make synapse-spark connections, interpret events to your own satisfaction, pick up visual cues (a long stretch of the film is dialogue-free) and be happy with not knowing all the answers (you know, like in life — but not in most motion pictures). A perfectly judged, strikingly beautiful film, but also a lunatic enterprise which invites — even welcomes — befuddlement as much as wonder. A true original.

Michael Bay goes back to a Bad Boys budget and a big boys’ rating, for a true-life crime story that’s inconsistent and frenetic, but also funny and wilfully outrageous.

1D in 3D: the closest thing to a Shine A Light for Directioners.

While it doesn’t defy genre conventions like "Cabin In The Woods," Wingard’s tale of a dysfunctional family under siege is an outrageously entertaining crowd-pleaser — if you have the stomach for it.

It's good to see Harlin back in the mountains, and while this isn't on par with Cliffhanger's thrills and spills, it's a smartly-executed little whatdunnit.

Apparently unable to decide whether to take its own mythology seriously or not, this is a mess of sculpted cheekbones and incoherent romance.

As simple and charming as you could wish for, this is a genuinely pioneering debut from a female Saudi filmmaker and a striking piece of work by any standards.

A likeable comedy that uses its greatest asset, its talented, funny cast, to good effect.

The young Aprile is a standout in a moving, hard-hitting and surprising adaptation of the Henry James novel.

An entertaining, provocative biopic with good performances and many strong scenes — but it still doesn’t feel like the full Lovelace story.

Part two of Ulrich Seidl’s Paradise trilogy is a stark, morally complex study of blind belief, lightened by black laughs and Seidl’s static, deadpan compositions.

A Pixney misfire.