Funny and occasionally original, this suffers only from too close a resemblance to its rock forefather.

As that Ronseal title suggests, Plane is rarely on the good side of trash. But at least Gerard Butler and Mike Colter offer some solid action-star appeal.

This is full to brimming with doleful pathos and a potent cast.

A gritty, brutal chase movie that's more about swords (and spears, and axes) than sandals - although it could have done with a lot more character-meat on those bones.

No matter how good the performer you can’t escape Christie’s leisurely approach to characterisation — simple concoctions of quirk, guilt and red herring. But Lumet is having loads of credible fun with the formula, keeping up a genuine sense of claustrophobia in this isolated railway car surrounded by crisp white snow.

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 simplistic portrayal of historic race relations boosted by terrific performances from some of the best actresses working in Hollywood today. Sure, it's corny, but it mostly works.

Toy Story with a twist, this is better than it had any right to be. Hardcore horror buffs may laugh and scoff at the mechanics of some of the scares; the rest may never be able to walk past the window of a toy shop without crossing themselves.

While it never descends into the nightmare its premise threatens, Black Box is a solid thriller that benefits from strong performances and a screenplay packed with philosophical anguish.

Decent belly laughs occur, but they are spread thinly over a prolonged period.

Fun spoof but it's been surpassed in the TV-series film spoof since then.

The forgettable title and cookie-cutter concept may seem lazy, but Coogan and Rudd work their asses off to make Erasmus and Paul the most memorable screen gay men since The Birdcage. It’s caustic, authentic, and very, very funny.

Dull thriller which isn't very thrilling.

Tossing a malicious vampire kid among squabbling, not-exactly-un-dangerous humans is a recipe for a wickedly enjoyable thrill ride. One of the messiest vampire movies ever made, and winningly so.

A grim, dour dive into one LA cop’s unravelling, which centres on a truly transformative performance from Nicole Kidman.

This is a timeless thriller, a reminder of how stars who have been so average elsewhere can produce excellent — some career-best — work when given a decent script and a confident director.

The garish, exotic, retro styling is Anderson at his visual best. In terms of character and sensibility, though, this is sadly Anderson at his worst.

A decent enough little B-movie which delivers some pleasingly weird violence and endless plot reversals. But there’s still a mild sense of pointlessness to the whole thing and the feeling that in different hands it could have been much better.

An opulent, well crafted and acted tale of emotional repression that captures the head more than the heart.

Abrasive but affecting.

Dated even at the time of release this nevertheless has a comic performance from Walter Matthau worth catching.

Dated and a little clunky but with a few moving performances from the leads.

Solid, mature and finely acted, but intermittently daft.

Despite great performances, stylish filmmaking, and a distinctive personality, Cuckoo emerges as slightly less than the sum of its parts. But it completes the hat-trick on Dan Stevens’ wildest year.

Don’t expect the true terror of Perkins’ Longlegs or King’s source story. Do expect plentiful gags to make you, well, gag. The best scenes here are a gory glory.

Charming, delightful and amusing - just what you'd expect from the star-studded cast of veterans.

Not as strong as the original, Rams is perhaps best described as a feature-length version of one of Sam Neill’s social media shorts; funny, a little bit rambling, winning.

This is not about where the Spicers end up, but how they get there, and you endure every stressful, exhausting and spectacularly tender moment of that voyage with them.

Bold, gruesome and melancholic, this Gothic horrorfest offers us much to sink our teeth into: Cruise - who effectively disappears from the screen for half the film's duration - is terrific, Dunst eerily compelling, Banderas hypnotic.

Weirdly, the film’s problem is that it revs up the tension so much that, like one character’s submersible sinking into the high pressure of the titular Abyss, it finally bursts. The climax – as Bud descends to defuse the nuke and meet the aliens – just doesn’t work.

Despite its sketchiness, this offers a vivid insight into the rejuvenation of a decaying city through fury, activism and music.

Kudos to Anderson and Gilroy for making a low-action, dialogue-heavy geopolitical thriller in this day and age. But aside from finally giving its star some strong material to work with, it doesn’t live up to its promise.

Mel Gibson miscasts himself in this fairly dull unoriginal movie.

Contact delivers on more than a pure visual level, reiterating the idea that greatest progress is made taking "small steps" towards enlightenment.

What begins as a thrilling pastiche of comic-book formula gets bogged down in its own scientific prattle — not that you ever stop adoring Johansson’s magnificent heroine.

If you're looking for sophisticated wit keep going, but Major League is pleasant, undemanding fun and the most likely of the baseball movies to hit over here. You don't need to know what they're doing on the field, there are some amusing supporting performances, and everybody likes to see losers make a dream come true.

This smart and funny creation is not just wish-fulfilment for the "Sex And The City" generation -- it's a Wall Street for the 21st century.

A muddled Wicker Man-inspired horror that has bursts of style, but fails to find depth beneath its blood-spewing surface.

A film unlikely to do much for either the serial killer genre or motorway services tourist trade.

It all adds up to just another glossy Love Story.

The usually reliable thriller-director Lumet falls short. With an irritating score and bizarre performance by Martin Balsam, it's alleviated by a promising performance by a young Christopher Walken.

Full of wit, intelligence and flair, once more Delpy has created a delightfully irresistible sort-of-romantic comedy.

Both leads excel at showing a true feeling (be it love or lust) but both covered in the guilty angst that one will betray the other. Edge of your seat stuff.

Strong performances from the young cast make a compelling case that the US govt is failing its soldiers, but the film’s a little too much of a blunt instrument.

You might need to take a Norwegian guide along to explain various local references and identify the specific trolls, but Troll Hunter's proud cultural identity - tremble, a US remake is in the works - is its strongest suit. It's wry, spectacular fun.

It’s clearly made with real love and care, but shows far too much deference to its progenitor. Even in a remake, we need more originality and less playing the hits.

It's the familiarity of it all that makes this a movie for movie-lovers: those who like good old-fashioned popcorn entertainment that reminds them of their favourite films.

Well-crafted and well-acted, but ever-so-slightly worthy and strangely unaffecting. Given the track record of the CIA, it probably ought to be angrier.

Valhalla Rising gets into your mind and stays there. You can argue what, if anything, it's trying to say, but it is impressive cinema.

This true-life tale takes some believing in the era of global warming (too much ice? Really?) but the sledgehammer emoting should let you know you're in a family drama.

For exploitation-enthusiasts and Scorsese completists only.

Some inspired grace notes elevate a thriller that's more De Palma than Hitchcock.

A simple, effective thriller, Copshop doubles down on pulpy, ’70s-styled fun. It proffers little that is novel but has enough vim and vigour to compensate.

Vice Versa knows its place and, rather than attempting anything oddball, sticks close to the body swap formula in order to gain a decent smattering of laughs. No classic, but a watchable comedy that will find an audience.

As a one-off this could have inoffensively scraped by on thin charm alone. But don't forget kids, it gave rise to such monstrosities as Last Action Hero, Junior and Jingle all the Way…

A Boy Called Christmas is by-the-numbers Yuletide storytelling buoyed by a strong Brit cast, inventive filmmaking and a heart in the right place.

There's the fact that First Blood is a first-rate, taught action thriller.

It may lack the fine-tuned inventiveness of Toy Story or the knowingness of Shrek, but it still delivers solid laughs and thrills wrapped up in an infectious sense of character.

There’s slapstick and silliness to entertain small children and nefarious plots for the adult audience to untangle, making this a far more handsome prospect than any of its characters could imagine.

An anti-capitalist fable that lets down its star power with an underdeveloped script. All of Good Fortune’s good intentions don’t make up for it being such a mediocre time at the movies.

A fittingly poignant treatment of an inspiring subject.

Kids will enjoy the colourful animation and fun characters, but adults will wish it all made a bit more sense.

In her directorial debut, Robin Wright boldly strikes out for new territory, but the film is all too conventionally fenced in, lacking a narrative as compelling as its own dramatic Wyoming scenery.

Could have been a little more darkly comic in places but the performances are superb.

The plot pieces might slot into place with a resounding clang, but what it lacks in finesse, this brutal actioner more than makes up for in bullish bravura and technical slickness.

Despite delicate performances, the lead characters never escape stereotype, and the relationship between them, which should be the emotional heart of the movie, never becomes remotely convincing even on an I Love Lucy level.

An otherwise fine sports fantasy is dragged down by an overindulgence in sentimentality.

An unlikely buddy comedy that comes to life whenever Kingsley appears - he doesn't so much steal the show as roll it into a fat blunt and smoke it.

Smart and satirical but very dated, obviously.

The doppelgänger trope may sound well worn but Enemy finds fresh, deeply unnerving ground. And Jake Gyllenhaal gives two spellbinding performances.

Sadly, though, all this arthouse exploitation fails to reveal as much about contemporary Korea as, say, "Texas Chainsaw" did about the States.

As absurd as their story is, it’s hard not to be won over by Lightning & Thunder. You will have Sweet Caroline stuck in your head for what feels an eternity afterwards, though.

In a bigger, busier and burlier Avatar, James Cameron once again displays his blockbuster mastery. Despite some repetitive moments, this is truly epic cinema, more than worth plugging into for three hours.

Jazzily scored and cut, The Uninvited hangs in the Hollywood hills and vibes like a ’90s indie. It’s no Swingers but it’s well-acted and makes entertainment of its earnest themes.

It's entertaining in a laughable, six-pack kind of way, acceptable if you're in the mood, slightly irritating if you're not.

Cheadle's finest hour and proof that Sandler can act. Funny, sad and flawed -- like its characters.

Triple Frontier is engaging in parts with well-mounted action. But the characters lack definition and you can’t help but think an old timer like Howard Hawks or Sam Fuller might have done it better in half the time.

Pure escapist madness. And a helluvalota fun.

Epic, heartbreaking cowboy story.

An affable adventure with a strong voice cast. What it lacks in originality, it claws back with strong visual gags and a witty script.

Patchy and in need of a rigorous edit, but amid all the weeds there is some ripe comedy (satire, even) for the plucking.

Loud and ludicrous, The Jerk is a strong contender for the funniest film of all time.

Powerful, moving and melancholy. A low-key treat.

An affectionate bloody valentine to both romcoms and horror, Heart Eyes is a like a Hinge date from hell. Smart, funny, intense; swipe right.

A mix of the fascinating and the frustrating: some of the dishes are exciting and interesting, however, 108 minutes of detail causes this documentary to fall short of its potential.

In a concrete Russian military facility, no-one can hear you scream. Sputnik offers obvious time-honoured sci-fi/horror shenanigans with a few fun tweaks to the formula.

A daring, formally audacious yet messy ode to cinema from one of the most enterprising filmmakers working today. Bravura and baffling in equal measure. Strap in.

The film is let down by an approach that goes for impact over insight, but Last Breath is a worthy entry to the ‘hostile environment’ documentary subgenre.

Dull and often exploitative, Daniel Isn’t Real coasts on the familiar faces of its lead actors while wasting their potential.

David Lowery’s second Disney reimagining is artfully constructed and full of interesting ideas. But for a film about the energy and imagination of youth, it often feels trapped in its own head.

A deceptively simple tale with a lot to say, Drift lingers long, thanks largely to a mesmerising performance from Cynthia Erivo.

A film about violent racism that is just too ambivalent in its treatment of the perpetrators to be anything but an uncomfortable watch. Some good performances, but leaves a bad taste.

A fun diversion for the kids, but you feel Attenborough could have packaged these often beautifully produced images with more rigour and insight in under an hour.

A muddle.

At its heart, Candyman terrifies because of its ideas. It sinks its horrific foundations very much in the real world of poverty and racial alienation.

First and foremost a highly enjoyable crowd-pleaser, despite some plodding direction and laboured point-making about TV news and the nature of fame and heroism, this has Garcia and Davis as their usual beguiling selves and an ending guaranteed to raise a smile.

A handsome and well-acted rumination on memory, boyhood and ageing that sees Ritesh Batra deliver a solid rather than inspired interpretation of Julian Barnes’ prize winner.

It's not exactly good, and it has some very bad scenes indeed, but the performances sometimes sparkle and the unusual happy ending -- scored with David Bowie's 'Putting Out the Fire With Gasoline' -- is surprisingly moving.