Stylish and gripping at times, this wry very-French gender satire is definitetly entertaining but falls down a little in the third act.

As well-constructed, unique, hardboiled and brutal as Zahler’s prior films, but this one leaves a less welcome bad taste in your mouth, thanks to its repugnant heroes and racial stereotypes. Impossible to dismiss, but hard to warm to.

That this is a patchwork quilt of a screenplay (written by five credited writers) is apparent in its use of little bits of this and little bits of that. Did none of them notice, looking at the big picture, that it's unbelievable?

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

Occasionally clunky and retrograde but in the same manner as a story told by a grandparent, The Alto Knights reminds us that De Niro will always be cinema’s greatest gangster.

Style over substance, but very stylish indeed.

A sequel that feels less necessary than willed into being, but that doesn’t mean it’s not pleasantly entertaining. There are more fluffy animals than in the first movie, more set-pieces and about the same number of laughs.

One of Heston's best work, this shows our lead at his most macho and heroic, inspiring a whole army while also managing to woo the stunning Loren in this romantic war epic.

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.

For all the charisma of its hero and villain, it falls down on its failure to resist cliché.

If it doesn't make you at least giggle, then you clearly don't understand the true meaning of the festive season.

Falls slightly short of being the definitive Alien doc, but Memory is slick and thoughtful, and will deepen your love of a classic.

Clearly not a |Disney classic as almost no-one has heard of it, this is vaguely enjoyable 70s hokum.

Riper than the ripest of ripe Brie, this crime caper provides a ridiculous vehicle for the talents of pretty much everyone involved, all of whom appear to be having a splendid time. Taken on these terms, viewers probably will too.

Cute and sweet, and if it lacks great wit or magic, at least it has the courage to remain faithful to the gentle sadness and 'realism' of the original material.

Performances are good but not career best.

Dynamite action. This is a good bet for a night with the lads. And weedy girlies can at least wake up every ten minutes when Denz takes his top off.

About as good as a big, stupid American action movie can be without ever being anything better than a big, stupid American action movie.

Illuminating as to the reality of being a victim of crime in a dangerous society but not exactly absorbing entertainment.

Like Chronicle, it's a fresh spin on the high-school flick. Unlike Chronicle, its execution never quite matches its ideas.

It’s genial, with appealing stars and fair giggles.

One of the finest documentaries ever made about the performing arts, this magisterial history of the companies that danced under the name Ballet Russe will enchant dance aficionados and novices alike.

It is a noble aim, and Reynolds drenches his movie in earthy, muddy tones.

This ankle-deep story has a cheekful of tongue, providing opportunities galore for hammy, quick-draw melodrama and the perfect vehicle for Ms. Stone.

A typical 90's comedy featuring staples Richard Dreyfuss and Emilio Estevez who re-hash their 'cheeky cops' schtick from the first picture and are now joined by O'Donnell who tries to inject more humour allowing us to forgive the lack of an engaging story. Sadly this is where all three fail.

It’s but a shadow of the original and a lesser entry in their (Coens) collection, but you are still blessed by flashes of black heart.

It's more than a little precious, but it's also sincere, touching and astute in its insights into social geography and human nature.

Part "Evil Dead," part "The Truman Show," part "Arthur Christmas"... For horror hounds who love a larf, and those of us who always wondered exactly what that dry-ice stuff that rises out of the forest-floor moss is. A fun ride - but not quite a "Scream."

While Dudley's booze-sodden antics tire after a while, there's relief in the form of John Gielgud as the old-fashioned English butler with a nice line in four-letter words, and a return to the screen from Liza Minelli, who plays the waitress Arthur falls in love with.

No matter how well dressed, the movie can’t escape the gravitational pull of formula. Without a convincing subtext, Black Rain is pretty dull fare indeed.

No award winner, but at least it delivers the rubbishy goods.

This is a hoot, the kind of hammy horror romp you wouldn't kick out of the video on a wet Wednesday night.

The remake/parody sequences - trailers for which are on the official site - are outstanding, but Black’s all-over-the-place mania and Mos Def’s slightly too bland orphan hero don’t quite tie the rest of the picture together. Still, it has heart. And you’d rather see this version of "Rush Hour 2" than the original.

Smarter than it sounds and carried by a very funny performance by Foster, this is a kids’ movie that’s bearable for adults too.

Sirens is a harmless, occasionally intriguing, confection offering just that bit more than an eyeful of Elle in the buff.

Relatively speaking it's nonsense, but very cute.

Relentlessly juvenile, it will offend moralists while making fans laugh out loud. It's only when demands of storytelling intrude that the film can't keep it up.

Nobody does vapid bollocks as enjoyably as Tony Scott, and while this isn't as inventive as "Man On Fire" or as compelling as "Crimson Tide," it's still the right side of dumb.

Timestalker lacks a little humour and insight into obsessive love to make it truly sing, but it’s an admirably ambitious fable that could be destined to become a cult oddity.

Veers too close to hagiography, although it's visually arresting enough to carry you through sagging in the narrative.

An intelligent, engagingly honest study of love lost and, just maybe, regained.

Delivers a decent puzzle and enough jumps to keep you enjoyably jittery.

Reeves and Winter look like they’re having a blast getting the band back together in a fun but forgettable time-travelling comedy. Neither bodacious nor bogus.

Distinctly predictable offering from the ever-overworking John Hughes, who has taken a step back from his previous work.

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.

It’s hard to take House Of Gucci seriously, because it never seems to take itself seriously. Yet with such glee being had by those involved, it’s an infectious, bizarro bit of fun.

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.

For all the blasphemies and British accent, Pinhead is just a sub-Freddy goon, and the ambiguities and perversities Barker is so fond of have been neatly tidied-up. This is the sort of picture teenagers in malls in Akron, Ohio might understand — a good horror sequel, and that's all.

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.

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. 

As a stylish black comedy its uncompromising nature should be applauded, though as an indictment of the hopelessly violent American society, the message gets lost.

A strange hybrid of Italian neorealism and fish-based fantasy, Luca is beautiful to behold but plays it too safe to make a real impact. Still, great CG linguine.

Genuinely original interpretation of the Brit gangster and Lewis Carroll's surreal tale.

It falters a little in its confusing climactic battle, but is breathlessly paced, wittily scripted, amusingly played, action-packed and relentlessly spooky.

A must for movie buffs, but too much of the charm resides in the clips and exhibits and those unaffected by the nostalgia will find the romantic triangle a touch too contrived.

Deliciously sick and delightfully cast.

Lea van Acken is outstanding but Dietrich Brüggemann’s severe gaze invites voyeurism, not empathy. A stony, stifling if fascinating film.

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.

Lin-Manuel Miranda’s directorial debut is an affectionate, if flawed, Valentine to both musical theatre and the art of creativity — some bum notes, some strong moments. Tick, tick… the jury’s out.

Bad Luck Banging Or Loony Porn is a scattershot satire, wrapping its hit-and-miss point-making in a raunchy comic romp. Despite its faults, Radu Jude’s flick is one of the more audacious films of 2021.

Vaughn gets a lot of points for imagination, but then quite a lot taken away for not knowing when to stop. A blast at times, The King’s Man could have sacrificed a fair chunk of plot for a bit more comedy.

Greg avoids the curse of the three in the third outing for the Wimpy Kid. Hardly groundbreaking but plenty of fun for its target audience.

Sedate and contemplative character piece but low on thrills.

Hold The Dark is rather unwell. Both intimate and epic, it is appropriately cold, resisting warmth at every turn, more a philosophical adventure than an emotional one.

For fans, a crowd-surf over Tenacious D’s best bits. For the unbaptised, a novelty movie of a novelty band, big on spirit but in search of a script.

Jacques Audiard’s outlandish musical thriller is a little jumbled, and a little misjudged in the treatment of its characters. But you can’t doubt its audaciousness.

Aka ‘The Odyssey: The Bits Without The Monsters’. Not that that should put you off, as Binoche and Fiennes bring some raw, fleshy humanity to this mythic text, giving it a modern twist that balances the film’s flaws.

Another mixed Narnian offering which, while it doesn't bust through the series' three-star ceiling, at least gives us its best FX, biggest monsters and finest child actor yet.

The first feature from music-video director Isaiah Saxon boasts wondrous old-school creature effects, but they’ve been applied to a rather derivative fable, an eccentric but skimpy Amblin wannabe.

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.

A sparse and languid Italian thriller that carries a debt to Melville.

A gross and engrossing attempt to humanise a hot-button subject, using a star-sprinkled cast to reveal some unpalatable truths.

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

A carefully evoked and unhurried number that won't bring the house down, this nonetheless ends up being more absorbing than you'd think.

Once you swallow the giant pill that is the premise, it just about makes sense, and Woodley sells it with all her conviction.

Well acted genre outing.

At three hours it does seem bloody long at times, but is still a suitably epic tribute.

What lifts this at key moments is the outstanding Phoenix's simpatico performance and we can add to the credit side happy casting that for once has assembled actresses and actors who really do resemble each other and present plausible siblings.

A lean, atmospheric and acutely creepy little horror pic - nothing more, nothing less.

Oldman and Seyfried prove to be the big attractions, but Hardwicke's Riding Hood legend still lacks bite.

Part wildlife documentary, part urban love letter. Kedi may only be a slender 79 minutes long, but it’s a lyrical and surprising philosophical tribute to the therapeutic power of pets.

Those with the patience to sit through a slow first half will be rewarded with another gutsy ending.

Very dated farcical comedy but Peter Sellers is charming despite the anachronistic character-humour.

While it never quite swims beyond the shallows of its money-minded plot, this fictionalised account of the licensing battle over hit puzzle game Tetris is, for the most part, absorbing and exuberant.

A sentimental drama that's 'good in the air' and something of a throwback to war films of old.

It feels more like a ciné dissertation designed to showcase Zvyagintsev’s appreciation of the medium than an original piece of cinema.

A rather titillating take on a racy historical novel, this is perhaps too ambitious in intent. More time, or more pruning (perhaps they should just have focused on The Boleyn girl), would have produced a richer and more enjoyable film.

A caper thriller that's sufficiently zippy to hold the attention. LaBeouf's current notoriety adds extra piquancy to those urban fight scenes.

Beautifully designed and voiced, this has a solid message at its heart. But it’s a well-told tale that’s suffers from being too well-trodden already.

By eschewing fast-paced suspense Hausner takes the sting out of her story, instead showcasing a bold aesthetic sense that feels like an exciting taste of what’s to come.

With flying pigs and magical nannying, this will charm children - but it could have been a little more charming for adults.

More violent, more explosive and even bigger than the original - this ticks all the sequel boxes. But as long as Willis is in his vest and playing McClane, it's hard to care about its shortcomings.

Though it might charitably be described as "a load of old cods", there is a certain entertainment value to Murder At 1600.

A little too exactly like the original but with (fewer) memorable performances.

Offers plenty of easy nostalgia and Duris charm.

A subtle and sensual character study.

A smart, tense, well-acted thriller undercut by a disappointing finale and an occasional lack of focus. But at least this offers something for those looking for a film with more on its mind than simple set-pieces.

There are moments of comedy grandeur, but this isn't as consistently funny as you'd hope. Nevertheless, Downey Jr.'s Kirk Lazarus is instantly up there with the comedy greats.