An interesting exploration of class struggle which recalls classics like "Bicycle Thieves" but doesn't quite live up to them.

A small, strangely sweet tale well told. But this is all about Mol, who puts in a performance that gives her a very early lead on next year's Oscar race.

Combining widescreen lyricism and neo-realist intimacy, this is a poignant reflection on the stark situation awaiting so many migrants who risk everything to reach a false paradise. The methodology occasionally feels calculating, but the intentions couldn't be more sincere, as the struggles are destined to continue once the cameras leave.

Formula is now the name of the game, although a steady diet of stunts and shootouts ensures that the audience is never bored.

Farhadi’s gifted storytelling and direction is on show again in a damning look at Iranian society.

He Dreams Of Giants never grips like Lost In La Mancha but it is an entertaining look at Gilliam’s damned-fool idealistic crusade, and an interesting portrait of a filmmaker whose eyes are way bigger than his budget.

An interesting, challenging mess. The White Crow offers lots that’s impressive — Ivenko as Nureyev, the dance sequences, a knuckle-whitening last 20 minutes — but can’t render it in a dramatically engaging way.

So the prognosis is generally positive, though there may be a touch too much sugar in this motion picture panacea, which is, in places, shamelessly sentimental to an extraordinarily manipulative degree.

Part time-travelling family drama, part idiosyncratic immigrant-adventure comedy, An American Pickle’s gags underwhelm, but its emotion and originality will surprise you. One of oddest films of 2020 so far, buoyed by two superb turns from Rogen.

It’s not the toothless remake we feared, and is often very funny, but there’s a slight imbalance between the Roses that blunts some of its effect.

Classic War caper with a few too many plot contrivances but high on adventure.

If Miike's re-tune of Masaki Kobayashi's bleak samurai tale is a surprisingly subdued affair, aficionados will still find enough sword-based shenanigans to keep them engrossed.

McKellen and Mirren, sharing the screen for the first time, are exquisitely matched in this slight but enjoyable yarn, which is like watching two magnificent vintage cars in a road race, without minding too much who wins.

Plucks at the heart-strings in a far too push-button way.

The eccentric performances make this otherwise flawed film work.

H Is For Happiness has more on its mind than most kids’ flicks and delivers its ideas in an attractive, if familiar, package. And who can resist a film with a character called Douglas Benson From Another Dimension?

A screwball comedy, with two well-cast leads, with a pre-Sex and the City Parker and a amusing Cage. The plot is ridiculous but enjoyably so, with enough jokes to carry it for an hour and a half and a relatively fast pace prevents you from seeing the holes in the story.

Against the odds, perhaps, but part three injects a tiring franchise with new life and some surprisingly dark jokes. Some fun cameos and another winning Dan Stevens turn also add much needed unpredictability to the miniature goings-on.

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.

The first and third acts are over-busy; the middle one moves like an arthritic house-elf. Still, a decent smattering of magic moments and tension's pumped up sky-high. Bring on Part 2.

Despite a familiar, somewhat tedious set-up, Greta truly comes into its own in the final act, a ’90s thriller throwback elevated by Isabelle Huppert tearing up the scenery and dancing all over it.

What this sometimes witty time-filler never quite manages is a genuine sense of confined menace. For that, you'll have to get aboard the original when it next plays on TV.

This is a garish, frequently insane, diamond-encrusted fantasy trip into the mind of a superstar, and we should be grateful to have even limited access.

An entertaining, frivolous ride through a wacky, well-realised world, The Toxic Avenger is a charming underdog story offering plenty of laughs. The very opposite of toxic.

Despite visceral moments, it often feels like an excuse to use footage that didn’t make the 2010 film.

Paltrow does an excellent job as the shy loner, affecting youthful, sulky mannerisms without resorting to stereotype. Anthony Hopkins, meanwhile, brings both gravitas and dark humour as Catherine's mentally ill father, while Jake Gyllenhaal makes for an effective, if buff, maths geek.

Dour script but sterling performances from the two male leads, this is basically watchable if you're interested in the subject.

A kind of Italian Fitzcarraldo, Rose Island persuasively argues that dreamers can move mountains. It offers little in the way of surprises, but it’s hard not to be won over by its small-scale delights.

Unworthy of comparisons to Hitchcock, but as a thriller it's not a complete failure either.

Moving if low-key, Jim Loach's debut feature is proof that compassionate, socially conscious filmmaking runs in the family.

Allen’s films have always had a feeling of melancholy to them, but this -- the first film Allen has written after the fall of the Twin Towers -- harbours a sense of dark unsettlement amid the neurotic romantic comedy.

You will jump out of your seat then wince at every kill, but you won't leave the cinema thinking you've seen a classic. Which is a crying shame.

The gags swing between mildly inventive and screamingly obvious, but even the latter are performed and timed well enough to draw a laugh.

There are some poignant moments, but Steven's decision to shoot a claustrophobic movie in CinemaScope and the stage-bound feel of the whole enterprise never bring the action to life.

Like all sieges, this offers moments of choppy terror and excitement followed by dull sit-it-out-and-starve spots. Straddled between uproarious schoolboy tosh and serious historical movie, this still offers enough dismemberments, royal tantrums and portcullis-rammings to make for a lively Saturday night out.

A bit silly really but it has a bizarre mix of a cast and some tension in places.

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

A pleasant package then, easy on the eye, and gently charming but, like The Brothers McMullen, one which places Burns as a comfortable rather than cutting-edge moviemaker.

The structure similarly misses the flashbacking subtlety of the original. Even the characterisation lacks depth.

It delivers in fits and starts but mostly baffles.

Great performances lifts this movie above its stilted script and production.

The mix of light comedy and really quite dark themes proved too much for many viewers, but this is worth a look for Broderick's performance and Carrey's obsessive touches.

The effects may have dated, as have the Cold War themes, but the almost real time adventure still has some tension to offer.

It’s bleak and understated, but strong performances and a thorny moral maze give this considerable power despite the gloomy skies.

After the success of Wayne's World, much was expected from Myers and this is a distinctly average comedy which failed to deliver. He is enjoyable as the neurotic Charlie as well as his father but the concept itself is just a little too unconvincing.

The creatively gory fighting and amusing — if shallow — characters just about compensate for the paper-thin story. But at its best, it’s a lot of dumb fun. 

A bold and sometimes garbled take on modern American politics, this nevertheless marks an effective and surprisingly funny comeback for a film that many deemed to be DOA.

A late entry in a crowded field, Spiderwick works hard to set itself apart from the competition, and almost entirely succeeds - no mean feat these days.

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

With an uncompromising attitude to complex plotting and graphic content, Red Sparrow is a promising beginning to a potential new spy franchise. Just be aware of its unexpectedly barbed edges.

It's nothing more than an enjoyable, ridiculously macho B-movie romp, but it's derson' best movie since the underrated Event Horizon. Perhaps, at long last, he' starting to find his - yep - top gear.

You'll be left as much in the dark as the director about the personality traits that inspired the loyalty of three strong, intelligent women towards this self-centred, physically-resistible enigma.

A film more concerned with 'how' than 'why' or 'who', Valkyrie would have benefited from more scrutiny and complexity. Still, once the bomb goes off, the thrills come in spades.

Bruising battles and some stirring performances make Troy enjoyable, if rather long. But if audiences can forgive the camp, they'll still struggle to empathise with the characters.

More potent as a cautionary tale than future noir, Anon’s digital dystopia certainly gets a Like, even if it doesn’t quite warrant a Share.

Successfully mining the awkward humour of the adolescent experience, Karen Maine’s coming-of-age feature makes the most of a strong central performance from Natalia Dyer.

The tale from the past is very nostalgic, heartwarming and mouth-watering and all, as Idgie and Ruth cook up a storm, are kindly to their black domestics and stand up to piggy men while events fitfully progress to a courtroom climax. And Masterson is a peach. But the best bits belong to Bates as her dreary Evelyn raises her consciousness, lowers her weight and starts speaking her mind. It's a nice, pleasant celebration of friendship, but without much meat to chew on.

The real nun in the movie is the heroine, played by a spirited Taissa Farmiga, and the dramatic weight falls on her able shoulders.

While it doesn’t quite boast the bullet-train speed or slickness of the original, it’s not a cheap replacement bus imitator, either.

Too often The Electrical Life Of Louis Wain favours eccentricity over actual insight. But even when the tones jar, Cumberbatch’s vulnerable, layered performance always rings true.

Working off source material that is very different from its predecessor, anyone expecting a straightforward Shining sequel will be disappointed. This isn’t a gruelling exercise in pure horror. It’s odder and more contemplative, but worth checking in.

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

An exuberantly bad-taste ode to our poochy pals. Dumb & Dumber, but for dogs.

A hard-boiled version of Rocky, with enough anti-Balboa brutality to keep our interest.

A mighty actor, a smart play, a clunky adaptation.

Thoughtful, emotional and often surprisingly funny, Terence Davies offers a rich if inconsistent portrait of a unique poet long deserving of a big-screen study.

A pleasingly intricate double (or is it triple?) revenge plot anchored by excellent acting, with a terrific burst of action at the climax.

If it thematically bites off more than it can chew, Random Acts Of Violence is a full-on, visually arresting horror. What it lacks in chills, it makes up for in ambition and style.

Nice performances, a useful script and a dignified ending all boost this film's appeal, but it is the workable simplicity of the premise that really does it.

'Highbrow' might be the best way to sum it all up. Interesting and stimulating, if not always successful.

If you hear the Rocky theme and think '118 118', you might wonder what all the fuss is about. For the rest of us, this is a reminder of why we fell in love with the character in the first place.

The story of how Flamin’ Hot Cheetos came to exist barely demands to be told (if it is even true). But like all good junk food, there are still some guilty pleasures to be had here.

Over-familiar and the first half's pace is sea-sluggish but with inspired touches.

The first Fred and Ginger feature is a little clunky and short on plot and character but a beautiful and atmospheric treat for all that.

Not Woody Allen at his best, this period piece has some clever writing but is not completely convincing.

Wicked: For Good, sure — but not quite Wicked: For Great.

It loses sight of its own heroes amid the hustle and bustle of its wildly entertaining environment, but Zootropolis is still a blast to visit for a couple of hours.

A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal.

Like Driving Miss Daisy this deals with a white employer and a black servant in the times of revolution, not only that but in both films it's a jaded view with the servant being loyal and not a 'friend'. Besides that small problem, it's a moving film with a steady performance from Spacek, but by the end it has definitely become Goldberg's film.

Okay, it doesn’t have an original bone in its body, but forgetting the awful title, Sex Drive has its share of snappy lines and decent gags. It’s also got Seth Green and James Marsden on cracking form, which should never be underestimated.

Scott Lee gives a surprisingly strong performance as the Inuit who falls in unrequited love with Albertine. If you can overcome the almost-too-coincidental fact that they are assigned to the same Air base several years later allowing them to be together again then this pleasing romantic drama could just be for you.

With Clooney and Roberts cranking up the charm, even the creakier elements of Ticket To Paradise are watchable. A warm, witty, welcome escape from reality.

It’s ragged round the edges, but then Fritz Kiersch is working with a budget Roger Corman would laugh at, and he does a good job.

If you like E.T. and Bumblebee, chance are you’ll have a good time with this slightly homogenous but sweet-natured kids’ adventure.

A compelling idea delicately handled and neatly played, especially by Bullock. It just lacks the emotional directness to turn the good into the great.

Drags in places and deosn't even try for a true-to-life portrait of the great theatre entrepeneur but it's shiny and big spectacle with impressive choreography.

Despite Lumet's home-spun pincer movement on the espionage/conspiracy genres, cliché still sneaks up and nips the film into submission.

A gentle, enjoyable musical fable.

An interesting first effort from Nichols - making him a director to look out for in the future.

On one level a fascinating refraction of the Amanda Knox trial into an examination of perception, on another an increasingly trying hall of mirrors.

A return to form for indie darling Drake Doremus, who brings his nuance, sensitivities and homespun feel to a formulaic love-triangle set-up. Jamie Dornan, Sebastian Stan and especially Shailene Woodley make it very watchable.

This is a gentle, camp but nonetheless revealing satire on how a nation circumvented the social strictures imposed upon it by Franco's fading fascist regime.

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

While beautiful, early scenes of shocking violence give way to philosophising and gauche symbolism.

Well-acted and suspenseful, with a great deal of editorial content, this feels a little awkward and earnest, and perhaps not angry enough.

The film’s bleak, Coen-esque sense of isolation, cold brutality and clutch of confident performances...make for a decent and engaging story that culminates in an enjoyably nasty conclusion.

Romantic images are subverted, the sex scenes are graphic and desperate. It's less grim than Susanna Moore's original novella, but the foreshadowing that all is not right is in everything, from the music to the dialogue.

Cool, handsome, self-assured... but, as the existentialists might say, what’s the bloody point?