Crude, hilarious, if a little corny, Smith's latest hardcore comedy is right on the money shot.

It won’t win points for originality or sophistication, but this is another muscular, well-pitched heist thriller with strong character work from Butler and Jackson Jr. We wait with bated breath for The Further Adventures Of Big Nick.

Josh Fox puts a fresh spin on a well-drilled - if continually relevant - story.

A noisy but enjoyable destruction derby of a film, sadly with none of the subtlety, invention or skill of Spielberg's Duel.

This was understandably inspiring to wartime audiences and actually still holds up as a heartwarming story with a very decent cast.

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.

Reasonably gripping.

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.

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.

Strong performances, warmth and light comedy abound, even if it is a bit stagey.

Not one of Altman’s masterpieces, but aficionados will find pleasures in a bittersweet swansong from the grand old man.

It’s extremely antic for the most part, covering a lack of real story with a lot of distracting quirk. Yet when Petit’s foot slips out onto a wire thousands of metres from the ground, it’s quietly mesmerising.

This old-fashioned tale of folk heroism and hardy underdogs benefits from solid performances and spectacular vistas, but it loses points for a sequel-baiting ending. 

A fun and frothy mock-doc with a message buried in its axle.

A moving story that manages to steer clear of the usual hammed-up adolescent angst. The result is a quietly powerful refresh of the coming-of-age genre.

A smart, subversive but rather cold debut from Brandon Cronenberg that's short of the dark wit that lit up his father's early work. Then again, comparisons are hardly fair, especially when Cronenberg Jr. clearly has plenty of ideas of his own.

Polanski’s unavoidably stagy adaptation of David Ives’ celebrated Broadway play is an enjoyably witty two-hander, confined to its theatre setting, yet with much to say about gender roles in the world beyond.

Insightful as ever but a little dated in the set-up and treatment of the shooting.

Despite strong performances and a witty script, Sometimes Always Never lays on the homage a little too thick for its own good, shortchanging itself by imitating a particularly idiosyncratic style.

A small but sweetly formed comedy of romantic misfortune that can’t quite keep Hollywood at bay.

There are brilliant, bewitching moments allied to hilarious and touching ones. Just not enough of them in what veers, at length, between the clever, the terrifying and the bit tiring.

Although Branagh has done a good job of toning down the opera's more ridiculous elements, what remains will test even the most willing opera virgin.

Manages to be a charming little movie, nothing to write home about but a perfectly acceptable way to while away a rainy Sunday afternoon with the child, or children, in your life.

Mortensen is on top form - twice over - but while the noir mood gathers like a black cloud, the story frustrates.

A road trip movie filled with simple pleasures. Ashmore does a solid job as a mariachi musician without a single grenade-launcher in his guitar case

Certainly difficult to define, this period piece messes with genres, power relationships and your head.

Like Saudi Arabia's "Wadjda," Burshtein's film is a groundbreaking first - the first Israeli film to be directed by a woman - and although it lacks a little of the emotional heft of Haifaa al-Mansour's work, it's a well acted and delicately told tale.

Either choose to dwell on Little’s formulaic storyline, or be charmed by the confident comedic performances of its three stars. One will lead to an infinitely more fun time at the movies.

Sometimes cheap but largely cheerful, this is a fun stocking-filler for horror fans — with plenty of heart to pump all that blood.

Strawberry Mansion is hugely ambitious, even more so because it doesn’t quite have the resources to realise its own dreams. Nonetheless, it’s a soulful, adorable and unique little trip.

Meat and potatoes teen drama.

It’s not doing much daring or different but this delivers a fun, well-made summer theme-park ride, with fast highs and slow lows. Pleasurable, though it doesn’t linger.

Very amusing fun.

A hanging-out movie that’s as close as you’ll ever get to soaking up the time, the place and the attitude. Too slack for mainstream audiences, though.

Not up there with the Farrelly brothers' classics, but still a worthwhile, farcical comedy.

A fun night in with the tellybox, but then it never claimed to be anything more.

Lively’s steely heroine and a propulsive plot ensure you’re never bored, but this is a generic thriller from a simpler time, bulked up by a single strong performance.

Structurally it’s a bit ragtag, but, as your mum would say, it has its heart in the right place. For all its wilful oddness it’s enchanting, imaginative and genuinely moving.

Amusing fluff.

Love Jones is fun, at least for the first hour, after which the melodrama takes over and the characters stop being witty and become schmaltzy instead.

As it is, it’s an aloof conclusion, an unclimactic climax to a stand-alone film.

Proof that Netflix doesn’t just do Kissing Booth movies: given the right talent, they can produce a genuinely compelling high school comedy. And you thought they didn’t make ‘em like this anymore.

A watchable tale of parental dread, propelled by a strong conceit and sustained tension — but let down by its outlandish twist.

There is bound to be a large appreciative audience for this chick flick. But it might not be you.

Plot holes and a mixed tone lessen the impact but Gordon-Levitt holds it together with a strong lead performance.

Given the work lavished on every detail of the glorious backdrop, it’s a pity that the story happening in front of it is so familiar and safe.

True to the Jackass formula, some gags come off better than others, but there's some doozies in its midst.

Stagey filming aside, this is a sharp and controlled study of celebrity obsession.

Fluffy thriller, with moments of unintentional humour.

Scorses's skill as a scene-maker are fully evident and Lewis' quietly rageful performance offers to out-do De Niro in intensity, but neither funny enough to be an effective black comedy nor scary enough to capitalise on its thriller/horror elements, The King Of Comedy sits awkwardly between the two.

Willow is not without its charms - the effects are more than special, the set-pieces suitably epic but it just doesn't fulfill the promise of certain other fantasy films.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

This is actually a very middle-of-the-road movie.

It's charming enough.

Competently made, and enjoyably played. But you do really end up wondering what the point was. Cinematic déjà vu is the most likely response.

Far-out touches and liberal application of metaphor are compensated for by intensity and two mesmerising performances.

Though there's an obvious, admirable effort to supply character development and plot twists, the set-work and special effects - both stylish and stunning - tend to dominate.

While not exactly poised to bother the old grey matter too much, will provide a great night's entertainment for sitcom lovers everywhere. But doing for childbirth what Four Weddings And A Funeral did for nuptials remains an unlikely proposition.

Quantumania isn’t as wacky as it should be, and the humongous stakes feel oddly small. But where else do you get a wild Jonathan Majors, an intense Michelle Pfeiffer and talking broccoli?

Sky Peals builds tension effectively, but stops short of meaningfully engaging with its chosen (and very worthwhile) themes. Still, if it’s a creepy-mood piece you’re after, this fits the bill.

It’s handsome, involving and stars the cream of British acting talent — but so did Lean’s unbeatable version, and Newell and Nicholls’ safe, schoolteacher-friendly interpretation makes no real case for going down this much-travelled road once more.

As a movie it was never wholly successful, mainly because it was saddled with all the excesses of the second season of the TV show; but for converts, this is still unmissable.

The frenetic action is Assassin’s Creed’s saving grace. Inventively choreographed and beautifully executed, its game-inspired brand of wushu-meets-parkour delivers some genuinely awe-inducing feats.

Perhaps not as heart-warming or charming as the first film, The Railway Children Return is engaging and entertaining in different ways, winningly played by its fresh cast.

Slightly overlong and glosses over certain aspects but a profound examination of a tortured artist.

Wells knows how to extract the goods from a great cast, but it's in service of a somewhat mundane story. Still, it'll make you think about the imbalance in the business world, even if the arguments and consequences are nothing all that revolutionary.

It benefits from a supernaturally engaging cast, but this treads too closely to the rom-com model to feel as smart or moving as Westfeldt's previous best.

There may not be a laugh every minute, but there are enough to satisfy most devotees of the relentlessly silly, tasteless school of parody.

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.

Bearing a passing resemblance to both Man Bites Dog and Chopper, it’s hardly original, but still a laudable example of proficient guerilla moviemaking.

A triumph of art direction, sound design and Gallic phat beats, but could do with a script upgrade and fun.exe patch.

Harrowing, visceral and definitely not for the squeamish, the fake documentary approach is an effective and unsettling tool, and while the film never quite reaches the horrific heights of John McNaughton's chilling Henry: Portrait Of A Serial Killer, it is, for better or worse, difficult to forget.

Shifting between bourgeois soap, tabloid parable and tale of the unexpected, this three-storied study of salvation in extremis makes for unsettling but compelling viewing.

There's plenty here to show why director Daniel Espinosa caught Hollywood's eye, even if this pre-Safe House crime drama holds few surprises.

Justice hasn't been done. The heavens haven't fallen. But skilfully prodding and probing at the edges of America’s greatest crime scene, Oliver Stone reinforces the argument that this was far from an open-and-shut case.

A bit theatrical in places, which is not surprising when you consider its provenence but it suffers for it.

While not quite on a par with Andrew Haigh's "Weekend," this is still an undeniably powerful piece of filmmaking.

It is a committed ensemble that sells this flock’s love for their shepherd, and while the tale often treads on familiar ground, it is in the bond between these animals and their owner that the film finds its woolly heart.

If it is at times a bit indie-by-numbers without the courage of all its convictions, this is a grittier, saltier than usual rom-com populated with laughs, smarts and a couple you can root for.

Whisper it. A Quiet Place Part II might lack the smarts and novelty of its predecessor but it serves up strong set- pieces, Millicent Simmonds shines and Krasinski remains a director to watch.

Apart from a sprinkling of Wilde's legendary bons mots and a few fleeting visits to theatres where audiences cheer Lady Windemere's Fan, there is disappointingly little here to suggest the complexity of his mind, the range of his writing or, crucially, the importance of being Oscar.

Under The Silver Lake is gorgeous to look at and listen to, with moments of genuine panache, but its wilfully labyrinthine plot will have limited appeal.

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

Not all Saturday Night Live sketches succeed in the transition from small screen 5 minute slot to hour and a half, with CB4 a fine example of one with mixed results. Rock and his group do well in mocking not only the blacks, but whites and all number of classes along the way, except the story doesn't quite manage to hold it's own as the joke begins to tire after the first hour.

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.

Worth a look, if only for the surreal groupings of the gangs (The Wongs, the Del Bombers and the Fordham Baldies...that's right, they're bald).

The Blackening is shuddery entertainment with more laughs than the entire Scary Movie franchise.

A solid conclusion to an unlikely trilogy and a fitting end to Robert McCall’s character arc — with Washington still entertaining as a deliverer of slick justice.

Despite the extended running time jam packed with action scene after after scene it still feels a little short on content.

Exceptional performances, particularly from Caleb Landry Jones in the lead, and a sensitive touch from director Justin Kurtzel can’t shake the unease of giving yet another cinematic spotlight to a real-life mass murderer.

Who could ever buy Atticus Finch as the demonic Ahab driven by hellfire to hunt down that dreaded white whale?

Son Of A Gun has the gritty, rough feel of 1970s heist/hit picture

Ben Is Back begins with nuance but is let down by its familiar Drugs Are Hell tropes. Still, the pairing of the ever-excellent Roberts and Hedges keep it a largely compelling watch.

Course-correcting to some degree with the return of its most inspired director, Justin Lin’s latest F&F instalment is a little too plastic at times, but back on track.

Far from the giant mess you’d expect from the delayed release, late title change and a production history as muddled as the source material, Singer’s tall tale is snatched from disaster by an all-hell-breaks-loose third act.

Hit-and-miss for Howard. The tone flits, sometimes uncomfortably, from Vaughn-fuelled laugh-fest to relationship drama, but it's a winner compared to many of the clunkly comedies out there.

Better than "The Transporter" but not as much fun as "Crank".

A strange brew. While the family dynamics and capitalist satire work a little better than the outlandish spectacle, White Noise at least appears to herald an ambitious new phase in Noah Baumbach’s career.