Knightley and Mbatha-Raw headline an excellent band of British talent, but the film’s focus feels sadly misguided. There’s a great story within Misbehaviour — we just don’t get to see enough of it.

Significantly better than the first film or, say, the first two Harry Potters, but we still can’t love it as much as we do the books. That said, if they keep improving at this pace, Dawn Treader should be a fantastic experience.

Despite some tired storytelling devices, Lee is a handsomely made, moving biopic of a subject who deserves to be honoured — with stellar chemistry and performances from Kate Winslet and Andy Samberg.

A bright and breezy sideshow adventure makes up for its overly frantic pacing with a charismatic central turn from Alden Ehrenreich — strong enough to make us want to see even more of him in Solo mode.

Bold and beautiful ideas perfectly realised.

Black proves the perfect blacksmith, forging smart new tech and scenarios for the swaggering super-genius. If this does turn out to be Downey Jr.’s final solo outing, it’s a very strong exit.

The acting is all first base, the script a laughable stream of gung ho-isms, the action merely solid and the effects indifferent. Yet, you still stroll out with a grin a mile wide.

Hardly as revolutionary as the activists it draws inspiration from, Call Jane is nonetheless a charming, big-hearted story of a fight for justice, and might just change a few minds along the way.

Made with love, even in its awkward moments, this modest account of a miraculous achievement is quietly life-affirming.

Unpretentious, warm, at times hilarious, it's hard to find a bad word to say about Crocodile Dundee.

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

It’s not a classic, but this colourful combination of Halloween and Back To The Future is undeniably a scream.

A neo-realist fairy tale that charms without losing sight of its key themes of exploitation and truth to one’s self.

Ruinously prioritising chic over content, this is intellectually and stylistically shallow when it should have been dynamic and compelling.

It picks up in the last hour, though this is a very minor compensation in an otherwise long and listless film.

Edwards’ film boasts great filmmaking, noble intentions and cracking monster action. Yet it never reconciles its B-movie origins — preposterous premise, clichéd characters — with its solemn, Nolanised tone. This Godzilla stomps but very rarely romps.

Funny, sad and horrifying. Anti-fundamentalist rather than anti-Christian, this deserves to preach to more than just the converted.

Despite being occasionally hilarious, director Goran Dukic should have toned down the wackiness.

Despite all the confusion, it's a simple case of the script being too ambitious. It may emulate a man experiencing flashbacks, but it doesn't help the audience.

Unpredictable and compelling, this draws parallels between Japanese and German cultures in interesting and moving ways.

An unlikely but effective found-footage horror from Goldthwait.

Family dysfunction to make Jeremy Kyle blush, but thanks to McConaughey's oily power and Friedkin's unflinching purpose it's a compelling beast.

It would like to be "Traffic" with guns, but comes out more like "Blow" with bullets.

With a slew of body swap films in the late 80's it was expected that this would be another one to fall by the way. Except with a promising script by newcomers Rene and Craig and strong performances from Ryan, Baldwin and Walker, it manages to be more memorable than most.

It's a tale that subtly reinterprets the genre and delivers Jarmusch's most accomplished, if not necessarily his most accessible film to date.

A near-irresistible Friday-night-out monster picture in the tradition of Lake Placid or Tremors, with a boozy Irish charm that makes it a distinctive addition to the catalogue of alien invasions.

Though the film looks dated it contains great use of English countryside and a couple of genuine chills.

Deliberately provocative, infuriatingly melodramatic, this is a film that begs not to be taken seriously, and requires a ready suspension of moral discernment for maximum enjoyment.

A triumph of painstaking technical prowess and stunning visuals over storytelling and dialogue. See it for its nuanced take on a huge cultural figure and to applaud its astounding audacity.

It’s long and sometimes gets swept astray by currents of family drama and period detail, but Ridley’s plucky determination and can-do energy carries the whole thing along. The result is an old-fashioned inspirational pleasure.

It's in the animal capers that Disney's skill really comes into play, as stunning wildlife photography combines with an Incredible Journey-type treat-animals-as-furry-people attitude to the narrative, transforming an average adventure film into a humorous, dangerous and immensely watchable movie.

Begin Again is a joyous movie about the good things in life: love, family, relationships, New York, creativity and music. And Knightley and Ruffalo make for one of the most unusual engaging couples of the year.

It's enjoyable and visually impressive, but this is a slender trifle of a film, one which charms you as you're watching it and then is all too quickly forgotten.

An intelligent thriller that effectively conveys the message that terrorism, even in apartheid-era South Africa, is rarely a black-and-white issue.

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

You can beat the house and you can break the bank, but sequels always get long odds on defeating the law of diminishing returns – yet Ocean's Thirteen just about pulls it off.

A loose, hurried ending can’t quite live up to the effective sense of dread created in the first two acts, but Amulet is still a fascinating, nightmarish debut from Garai.

Paul Schrader's intense drama pulls out all the stops.

A based-on-fact family drama whose truths may hit too hard for some, but are worth suffering if only to witness Timothée Chalamet’s performance.

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.

The film is strongest when it remembers it’s a Tim Burton film and has licence to get weird. While it’s slicker and less homemade-feeling than the 1988 vintage, there are still flashes of B-movie brilliance.

Tim Burton’s return to real-life storytelling is entertaining but flawed. See it for a fascinating true story and a fantastic Amy Adams. Beware the uneven tone, a lack of depth and Christoph Waltz’s monumental mugging.

Fulfils all its early promise, delivering a well oiled, no-nonsense, supremely entertaining crowd pleaser.

Plenty of mileage is derived from Dujardin's dismissal of everything Arab, Michel Hazanavicius also throws in some supremely silly running gags, while keeping the plot moving at a clip and establishing a rapport between the hapless hero and his insouciantly accomplished assistant, Bérénice Bejo.

Though it perhaps inevitably lives in the shadow of some subgenre masterpieces, Black Sea is a superbly shot men-on-a-mission thriller with chest-tightening tension and a striking contemporary resonance.

It is entirely predictable from moment to moment and frequently laughable in its portrayal of international relations and politics, but it’s also funnier than it needed to be, and, thanks chiefly to Zakhar Perez, often charming.

Film is elegant but never beautiful, a pretence at Lean’s magnificence contradicted by a lavish but anachronistic score by Vangelis. It is the words and performances which excite; their director is out of his depth.

Solely made for tiny tots, this may test the patience of supervising adults, but delight smaller viewers who will doubtless fall in love with George and want him for their very own.

An old-fashioned literary biopic with all cliches intact and some pseudo-steamy grapplings to keep interest, if you must, up.

Odd-couple chemistry and a dark underbelly keep this Danish noir adaptation compelling.

If it lacks filmmaking fireworks and emotional wallop, The Children Act delivers a sensitive, thoughtful drama about complicated issues. And it is another reminder, if one were needed, of the subtlety and skill of Emma Thompson’s stratospheric talent.

King Kong lives! But only just. This is an uneven adventure that’s saved by the spectacle of its towering title character and the various beasts with whom he shares his island home.

Charismatic performances push this into a higher bracket of political thriller.

Val Kilmer is extraordinary as Morrison, holding the centre with a demonic charisma, while Stone recreates the late '60s milieu with vibrant versimilitude.

Witty and articulate but the continual editing devices can distract from the momentum.

Newman is at his very best, and the cinematography is backing him up every step of the way. Must-see material.

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

A solid adaptation, even if its camp exuberance is a bit muted on the screen. It’s unlikely everybody will be talking about it, but its positivity is infectious.

Managing to go further over-the-top and pushing more offence buttons than you think possible, this is recommended only for the strong of stomach and hard of heart. 

Enjoyable, but this croc-fest is no Lake Placid.

Despite superb performances by Kathy Bates and Jennifer Jason Leigh, a limp, almost TV movie trite, climax never comes near delivering the shocks it should. A shame, as what could have been superb, is merely average.

This freshly 4K-ed masterpiece of German Expressionism deserves to be seen on the big screen. Track it down and be rewarded with possibly cinema's first ever twist ending.

Like the stranded astronauts, we are forced to sit around for too long in stale air, waiting for something to happen. An overly-long, vacuous foray into space.

This barely conceivable story of neglect and loneliness is given heartbreaking new life by Morley, with Zawe Ashton standing in effectively for the tragic young singer.

Fun for kids, but, despite some adult references, appeal for the over 10s is limited.

Okay video-dungeon-style horror, a bit marooned on the big-screen but nevertheless murky fun.

It may be predictable, but Bleed For This still grabs with its astonishing against-all-odds true story, and its belter of a central performance from Miles Teller.

A long, sometimes broad film, but one that tackles an important and prescient subject, especially considering the ever-increasing numbers of asylum seekers crossing seas in dangerous circumstances.

Silberling does a good job of introducing Snicket to the big screen in an impressive adaptation that’s always smart, even if it’s rarely spectacular.

The only romantic comedy out there which spans two lifetimes, Chances Are you'll wind up wishing it didn't.

A smart, compelling, pared-down thriller for grown-ups, anchored by a pair of stunningly charming performances from Chris Pine and Thandiwe Newton.

This is a clever premise stretched perhaps a little too far.

Unnervingly, it is both hilariously funny and quite disturbing, with Allen's neuroses and fixations manifested in some shocking ugliness and intimately personal revelations we'd rather not have seen confirmed.

McCormack, Grant and Delpy waltz with flair in this stylish if unoriginal slow-burn thriller. Best consumed with a large glass of red wine and one’s tongue in one’s cheek.

There is a tender resonance in its cheesy sports drama operating with all the obvious moves.

The plot is one the original writers would have been proud of and with Garner, himself, appearing it gives the film a seal of approval. A rare performance from Foster who is surprisingly funny and Molina giving a good supporting performance, it's an enjoyable family film.

In spite of a catalogue of downsides, including clunky dialogue, fuzzy morals and preposterous story lines, G.I. Jane does offer a perverse level of enjoyment.

A little too derivative to truly stand out, but gorehounds will love it. Don’t a void.

An intriguing rites-of-passage story with a delirious, skewed perspective and an almost palpable sexual pulse.

It falters in the middle and hesitates unnecessarily in setting up the love story, but Gru still has charm and kids will adore the Minions.

From the astonishing studio sets and (Gaultier-designed) costumes to Gambon’s performance (so ferociously wicked that it beggars description), Greenaway attacks his targets with a sadistic obsession that is, frankly, terrifying. Many people will be profoundly offended by this film — by the monstrous misanthropy that Greenaway lays bare through it, by the spiteful images of women in a vicious world — but some may appreciate it for what it certainly is: the most startling depiction of intellectual cruelty and evil for many years.

Has something for everyone.

The unfamiliar young cast all show a lot of potential in a well-thought-through, sting- in-the-tail plot. It’s a well-assembled genre movie rather than a great statement, but none the worse for it.

Strange and surreal but with moments of real beauty.

A rolicking good time is had by all in this adventure that is built on archetypal plot strands that tie together oh so well.

Check behind the doors. Switch on all the lights. You won't be sleeping soundly for a while.

It starts off very sprightly and witty and maintains a high giggle-count throughout.

Theroux’s first big-screen doc is an entertaining affair, peppered with surreal moments and wry wit, but its elusive subject remains out of reach.

As derivative as it all may be, it’s still superb entertainment.

Interesting portrait of the shallow nature of fame but overall this fails to engage on an emotional level.

Baz Luhrmann takes the audience on a unique ride through one of the Bard's best-known texts, illuminating the story, occasionally subjugating the language but always delivering a vision that is bold, brassy, hugely inventive and accessible and, in a strange way, just right.

Despite feeling narratively let off the leash, Last Exit retains the passion of the novel, as well as the switch-blade characterisation.

Another solid hit from Planet Apatow - charming, funny and remarkably in tune with real life.

Not quite ‘Ready Player One Star’, but this is an odd duck: a Black Mirror-ish concept played for laughs, which ends up getting tangled up in its own code.

Spielberg's technical ability is very clear, with much to appreciate on close examination.

It’s not trying to reinvent the romcom wheel, and its final bow could be predicted by anyone with half a brain — but I Want You Back is sweeter and more sensitive than you might expect from this kind of broad mainstream romp.

Jeunet himself describes the film best: Delicatessen meets Amélie. But we'd add that, while it's certainly breezy fun, it's not quite as good as either.

Eastwood is in good, if not great form, Bridges steals the whole show, and Cimino displays a sense of unpretentious fun and appealing grasp of character.