While Landau, Aiello and a brief appearance by Christopher Walken do perk things up, it's a tediously indulgent, redundant work.

One of the greatest screen musicals ever.

A snappy, quirky German indie that will thrill fans of early Jim Jarmusch.

It’s cool and brutal, but with such impressive action credentials you almost wish there were fewer plot devices to distract you as Charlize gets up and at ’em.

This stylish, quietly suspenseful crime film offers a rejoinder to the typical macho ’70s genre, focusing on the female experience in a compelling, nuanced way.

If it doesn't ultimately engage your heart as it might, Anna Karenina is period drama at its most exciting, intoxicating and modern. Spellbinding.

As Lowe systematically dismantles Spader's antiseptic existence, Hanson and writer David Koepp handle the thriller plot well, with Lowe effective as the plastically beautiful but deeply dangerous bad influence of the title.

Familiar biopic beats hold it back, but strong performances and McAvoy’s sincere direction make it a promising debut, balancing humour and heart.

This glimpse into a decadent era has its charms, but they’re mostly visual. While Pfeiffer and Friend perform well, the script is tonally confused and lacks edge.

This coasts along just fine thanks to charm and comical interludes, but it fails to deliver the sassy story it promises. Fine for a romantic comedy, but an inferior follow up to director Gluck's edgier "Easy A."

The method is well-worn and the subject-matter familiar, but this is a smart, scary little picture.

Hardly hard-hitting but a thoughtful and spirited look at a man at the top of his game and a moment in time that refused to fade.

With a frustrating format and poor animation, it's still worth it for Franco and the chance to engage with a key work of poetry.

Occasionally, like its characters, ragged around the edges, this nevertheless rings with all the emotion and power of the source and provides a new model for the movie musical.

Good-natured, old-fashioned family entertainment, but Two Brothers never quite manages to strike a successful balance between fantasy and reality.

If it were any more manic you’d have to put it on Ritalin.

It has grown a little thin with age, especially Gere’s yuppie baiting speeches, but there’s a hardness here, an aversion to the dumb action thrills of the genre, that keeps it respectably high up the scale.

This pleasant 1940 comedy-drama hit on the successful double-act teaming of crooner Bing Crosby and patter comic Bob Hope, throwing in sarong-clad Dorothy Lamour for glamour and working through a trivial plot about fleeing responsibility for a South Seas idyll.

A compelling, adult period thriller, with an Oscar-assured performance from Angelina Jolie.

Black-veined and dark-hearted, this is another persuasive character study from Campos.

A harrowing, economical thriller that will sit with you for days, this is Shyamalan’s best film in years, and a calling card for Bautista in his strongest performance yet.

The script might have benefited from being directed by someone more daring, instead George Roy Hill settles for more mainstream territory.

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

Vividly staged but sentimental extravaganza.

A daring reimagining of an oft-told story, Kiss Of The Spider Woman features some sensational musical moments that nicely hark back to classic Hollywood, but struggles to reconcile two very different worlds.

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.

A fascinating and visually impressive intellectual helter-skelter ride, but the lack of narrative coherence lets down its promising sci-fi concepts and satire.

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.

Bourne goes epic. A wham-bam actioner, but its pointed political subtext ensures Damon and Greengrass deliver their most provocative mission yet.

Stark, bold drama.

Paul Schrader delivers another compelling investigation of conflicted men in modern America. Master Gardener has a stately pace but a knockout punch; enriching cinema for the discerning punter.

Sterling performances lift the occasionally soapy storyline in this semi-successful adaptation.

A great cast is let down by a script that fails to provide a compelling mystery to solve. Never mind as a big-screen production, this would be disappointing as a BBC mini-series.

A sports film with an arthouse sensibility. It benefits greatly from its chosen subject matter — two of the most remarkable characters in sporting history — but only manages to truly get under the skin of one of them.

Too scattershot to land any effective punches.

A birdie biopic that’s too keen to avoid ruffling feathers, Lowthorpe’s film still boasts two brilliant lead performances — a magnificent Foy and an even more majestic Mabel.

Exciting in parts, Meryl Streep and Kevin Bacon doing their best, but arc of suspense doesn't quite bring you to the edge of your seats.

One for the die hards. The saving grace here is a knowing sense of humour so lacking in its predecessor, For Your Eyes Only.

A bold, brave first effort behind the camera for Viggo Mortensen, elegantly distilling some painful truths for anyone who has ever had a complicated relationship with a parent.

A raw, lean and abrasively effective thriller from Steven Soderbergh, which features Claire Foy as we’ve never seen her before.

While the quirky structure could be taken as a bold move, the story still feels frustratingly incomplete, rendering the preceding hour or so a tantalising glimpse at what could have been.

Tender and touching, this gay coming-of-ages story is underpinned by a terrific, subtle turn from newcomer Florizoone.

So so adaptation of the Kipling story. The human performances are riotous but their animal counterparts are blank canvases yet to be coloured.

Fluffy thriller, with moments of unintentional humour.

A lurid, luminous teen-bender movie, as ludicrous as it is stylish, and Harmony Korine’s best film in years.

Genuinely disturbing horror but with Cronenberg producing a slightly deeper edge in his portrait of a troubled family.

Moving and convincing as a case for romantic anxiety being the most isolating thing in the world. Fingernails is funny until it’s not: deeply romantic from the top of your head to the end of your fingernails.

More Damon Runyan than Irvine Welsh, but as entertaining as it is important.

Curiously uninvolving. It never comes to life -- even after someone is found dead. Nevertheless, there are pleasures to be found in the performances, particularly in Eddie Izzard's lovelorn Chaplin and Edward Herrmann's paranoid Hearst.

This isn’t your average against-the-odds survival story.

Okay, so it's not exactly a groundbreaking advance from the team behind "Ice Age," but with its kaleidoscope of colour and heaps of humour, you'll be charmed.

An absurd, iconoclastic riot. Ruben Östlund’s point may be blunt — yep, rich people are bad — but his telling of it is hilariously, breathlessly entertaining.

Let Him Go starts languid and builds to a tonally at-odds finale, with its stars looking curiously unengaged. This is what happens when slow burning never really catches fire. Still, Lesley Manville is on fire as a memorable backwoods-y crime boss.

The script is structurally similar to "21 Grams," but restrained turns and perceptive direction make this honest rather than manipulative.

Flimsy plot (as usual for Argento) but stunning set pieces and camera work.

Peppered with fun-to-spot cameos (can you spot Williem Dafoe?), the parody-satire script works well with Depp's adept handling of the titular bad boy. A delinquent joy-ride, though without the Hard-core distaste of previous Waters flicks, which may or may not be a bad thing.

This nightmarish travelogue is coy about gore, but it’s still an effective thrill-ride. If the sequel happens, let’s hope it delivers some actual combat.

La Diva Eterna lives in Jolie, with a performance as towering as it is understated: sad and soulful and heartbreaking. She has never been better. Brava!

This psycho-thriller showcases an awards-worthy performance from James McAvoy. Shyamalan papers over plot-holes with dry black humour and well-judged suspense, and — as always — holds back some surprises.

Bob Odenkirk continues his late-career action streak with a satirical and stylishly violent take on the small-town-under-siege movie. Ben Wheatley meets John Wick? Oh, go on then.

The action meanders occasionally, but the performances are consistently disarming and Luciano Zito and Diego del Piano’s black-and-white photography complements the mood of ironic melancholy.

If it’s surprisingly sweet-sounding subject matter for Albert Hughes’ first solo film, he treats it with respectful seriousness. It’s a family movie but one unafraid to show some very sharp teeth.

A soft-spoken yet chilling domestic horror film that tells its slightly overfamiliar tale effectively, with strong performances, quietly disturbing atmosphere, one or two friendly clichés, and good, old- fashioned scares.

Compelling and honest with flashes of dark humour which makes this a meaty comedy drama.

Scoop is not quite the prince that was promised. But there are some gripping moments, and some extraordinary performances — especially from Sewell and Piper.

It seesaws between disturbing psychosis and freewheeling nouvelle vague romance, then turns awkwardly editorial in the last reel.

Still gripping after all this time.

Like mum's home-made comfort food, it's warming but not really that good for you.

A scabrous, somewhat wayward anti-80's rant that, whilst providing Grant with a few moments of high farce, lacks the wit and social surety of Withnail & I.

A gripping, zig-zaggy potboiler, this is a crime thriller in the old-school tradition, with some enjoyable turns from Boston’s finest, Matt Damon and Ben Affleck.

Strong performances anchor a series of unforgettable scenes. Breathtaking and unfathomable.

A sequel that serves its characters with a fresh story instead of relying solely on the tropes of its predecessor. This high-fashion tale could have benefited from higher stakes, but Streep and company remain as in vogue as ever.

The net result is unbeatably good fun, helped along by that inherent fantasy that one man can create global mayhem without stopping to worry who's going to clean up afterwards.

It has a tendency to drift aimlessly and, having said all there is to say on the subject long before the two hours are up, loiters around when it really ought to have gone to bed.

Wheatley continues an unbroken run of quality, helped by a great cast and a startlingly effective premise. This is seriously cool, stuffed with great dialogue and riddled with bullets.

Considering it’s the debut of one of TV’s hottest double-acts, Keanu is a slight disappointment. But there’s plenty of funny stuff, and George Michael fans in particular should have faith, faith, faith.

It’s a visceral experience; part survivalist drama, part slash-and-stalk thriller, filled with intensity and dread, all amplified by wild editing strategies (flash cuts, jump cuts, abrupt cuts to black) and strobe effects to stoke up the atmosphere.

The reach of this avant-garde comic meltdown sometimes exceeds its grasp, but this is still a consistently jaw-dropping joyride through one man’s terrible, very bad, no good week.

It may be too tame for horror fans, but the gothic twist works remarkably well — even if everything else is business as usual for the Belgian detective.

Like his plans, Megamind verges on greatness but has flaws. But it's fun, energetic and at times dazzling. Expect a stronger sequel - unlikely to be 'darker and grittier', though.

If "No Country For Old Men" was vintage port, Burn After Reading is a shot of tequila: eye watering and hard to swallow, but the after-effect is terrific.

Resurrections suffers from an identity crisis, going from being supremely fun and knowing to weirdly pedestrian. It’s a slippery mish-mash— entertaining in big bursts but ultimately a little hollow.

It might be a minor work from a major filmmaker but François Ozon’s remix of Rainer Werner Fassbinder’s classic has its pleasures, chiefly strong performances across the board, especially from Isabelle Adjani and the immense Denis Ménochet, embodying the German maverick without ever descending into impersonation.

DiCaprio delivers a startling prettyboy-to-tough nut makeover – but he has to play it close to his chest here for the storyline to play out. Once you get past the trickery, Shutter Island offers sumptuous, enthralling, shivery gothic filmmaking with a hardboiled heart and a sly line in asylum humour. If a pot is being boiled, at least it’s an intricately-decorated pot on a spectacular fire.

At times a subversive, sub-Marvel thrill, it might be best to come back to this after the glut of goody-goody heroes due to bombard our screens have passed.

The sometimes dark sci-fi thriller tone is punctured nicely by Quaid's one-liners, and Capshaw is on good form. Very, very '80s, but lots of fun too.

A solid if slight look at the quicksilver, complex character behind one of children’s literature’s most beloved creations.

Though it doesn’t stray far beyond fan service, this is a comfortable extension of a beloved British show that delivers a reliable mix of quotable comedy and heart.

Also known as The Liver Eaters (although no livers are eaten only a rabbit that may have been a cat) and Cannibal Orgy (though there are no orgies), the long-delayed Spider Baby is definitely one to file under weird and wonderful.

Fighter delivers exactly what you’d expect from an Indian military blockbuster – excitement, passion and a level of patriotism that’s equivalent to being repeatedly punched in the face with the Indian tricolour.

The Lost Boys remains a supremely watchable example of something the '80s did right.

The ingredients are absolutely familiar, but what makes the whole recipe satisfying is the sheer amount of gruesome fun Roth manages to have with the concept. Don’t go in expecting characters you’ll care about — just enjoy the stalk/slash/slice/bake terror on offer.

It’s chaotic and episodic, but this is Cera’s star turn. "Superbad" meets "Fight Club?" That’ll do it.

Love And Monsters is a blast, an unassuming, immensely winning monster movie filled with great lo-fi creatures and a likeable cast. As a template for making a leaner, less bloated summer movie, Hollywood could do a lot worse.

This needs its 'based on a true story' caption because otherwise you'd never believe it.

Hotel Mumbai benefits from strong filmmaking and an unflinching gaze, yet it lacks dimensions, both in its characters and take on its subject matter. Still, it’s a punchy, promising debut.

Buoyed by its leads’ fizzing chemistry and infectious spirit, Billy Porter’s directorial debut may be flawed, but its feel-good vibes and charm make it prime for comfort viewing.

There's no escaping the teen angst or, for that matter, Araki's thumping message with the angry director managing to slip the odd political curve-ball into proceedings as if he's been watching too many Oliver Stone movies.