Derivative it may be, but with its echoes of "Speed," "Lethal Weapon" and "Die Hard With A Vengeance," this is a welcome throwback for audiences raised on '90s action flicks -- what they used to call "a pulse-pounding roller-coaster thrill-ride of a movie."

Subtle and unflinching, this is genuine and charming.

An amusing scenario gets a big boost from winning performances all round -- which lift it well above other bride vs. buddy 'triangle' japes like, say, "You, Me And Dupree."

The chemical combustion just isn't there between Julia and Clive, and you can't help wondering if Gilroy wrote this with George Clooney in mind. Still, a glamorous, diverting escapade that over-30s in particular can enjoy.

This is one expensive folly.

An unexpectedly entertaining mixture of good, clean Disney fun with some rather more modern action scenes, lent charm by Johnson’s natural swagger. One of the better family films in a while.

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

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

Okay, it isn't the graphic novel, but Zack Snyder clearly gives a toss, creating a smart, stylish, decent adaptation, if low on accessibility for the non-convert.

Superficially interesting in many ways but this doesn't really engage on a deeper level.

Being over-stuffed and heavy-handed are not even Crossing Over’s biggest problems. That dubious honour goes to an absolute failure to address its nominal subject-matter in any meaningful way.

Unlucky for almost everyone. It's a sad day when a Friday the 13th remake is shown up by a My Bloody Valentine remake – couldn't they at least have sprung for 3-D?

A sombre, slow, but well-paced study of organised crime in urban Naples that leaves a very grim taste in the mouth.

Fine performances -- notably from Phoenix -- still don't make this an easy sell. But it is atmospheric, accomplished and intense.

Terrifying and beautiful, believable and fantastical, this is one of the best children's films in years and Selick's finest -- better even than "The Nightmare Before Christmas."

A mirthless shot in the dark that misses the target by some distance.

Poor remake of the Korean thriller.

A needless threequel. Note to director: avoid 'rise of the' titles.

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

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

Hardly promising but, thanks to James' winningly gung-ho underdog and the fat-man grace he brings to a pratfall, unexpectedly watchable.

An amazing true tale is somewhat diminished by second-hand storytelling: entirely admirable, largely entertaining, and yet curiously hollow.

Handsomely done and beautifully acted, just slightly wanting in a screenplay that leaves questions unanswered about what's behind these unhappy people. And it's ultra-depressing...

Aptly for a film so concerned with time, Button is 13 minutes shy of three hours and just flies by. If this is Fincher selling out, can he sell out more often please?

More ho-hum than ho ho ho.

Undemanding, observant and beautifully performed, this is Richard Curtis-lite with added reassurance: no challenging questions here.

My Dog Skip for people in mid-life crises, it?s too talky and trouble-laden for tykes but will doubtless prove as critic-proof to dog-lovers and the stars? fans as it did in the US.

A film more concerned with 'how' than 'why' or 'who', Valkyrie would have benefited from more scrutiny and complexity. Still, once the bomb goes off, the thrills come in spades.

A bravura documentary which balances the personal and the political as it peers into the First Lebanon War, its animated approach never feeling like a novelty. Astonishing, unforgettable: you have to see it.

While it meanders on its way to the requisite happy ending, the lush, stylised animation and courtly flourishes would win over anyone.

It's charming enough with some nice comedy touches, but the initially intriguing premise is soon railroaded out of sight by its desire to conform to a tried-and-tested cinematic formula.

A collage of strong scenes, dull bits, good filmmaking and a dissatisfying emotional payoff. A laudable attempt to tackle heavyweight subject-matter that ends up just being heavy weather.

An emotional smackdown. Rourke's never been better, and the change of pace and texture suits Aronofsky perfectly. "The Raging Bull" of wrestling movies? Oh, go on then.

A remake that does not disgrace the original, this is sufficiently different to stand alone and just as relevant in its concerns – as well as succeeding (arguably better) as a thriller. And after this performance, are we sure that Keanu Reeves is really human?

A mighty actor, a smart play, a clunky adaptation.

Simply terrific, enormously watchable and an absolute must for all Eastwood fans. Gotta say it: this film will make your day.

The epitome of middle-brow 'quality' drama -- admirable within its limitations, but Bernard Schlink's Oprah Winfrey Book Club-approved book wasn't exactly literature, as this isn't exactly cinema.

Slow, ponderous, meticulously rendered realism that will appeal to specific audiences of slow, ponderous, meticulously rendered realism, with a heart.

Stirring stuff that works thrillingly as drama, and should make Sheen a star, even if it compromises on historical insight.

Beyoncé proves her Dreamgirls turn was no fluke in this so-so Blues melodrama.

Another violently unsuccessful attempt to bring this comic book character to screen.

Incoherent and inconsistent, this is a step back for Statham in his quest to become more than a cult figure.

Milk thoroughly deserves all of the press ink that will doubtless be spilt over it. Wear your 'Vote Penn' Oscar pin with pride.

The unlikely superhero of this film is the hamster, who brings the funny amid a flurry of weaker gags. But Bolt still has charm -- it just won't hit with the adults the way the best animated films can.

A sometimes girlie swirl of obsession that will delight fans, this faithful adaptation is after teenage blood, and will most likely hit a box office artery.

Often beautiful but wildly inconsistent, Australia is none more Baz Luhrmann, which perhaps says it all. Worth a look on the big screen, though.

As with "The Dark Knight," the only real caveat is that while it's exciting and imaginative, it's not exactly anyone's idea of fun. To keep in the game, perhaps the next movie could let the hero enjoy himself a bit more.

Danny Boyle's finest since "Trainspotting." In fact, it's the best British/Indian gameshow-based romance of the millennium.

A great example of the Emotionally Stunted Men Grow A Heart sub-genre. Role Models staves off the January blues and puts a marker down as 2009’s laugh-out-loud comedy to beat.

A pleasing and pretty enough re-run, just that bit diminished.

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

You don't watch it, you survive it. A battering experience, and the hardest Brit horror in years.

A playful industry satire made by victors. That's actually pretty cold when you think about it.

If you're under 12, you won't be disappointed. If you're over 12, the fact this is as funny and bright as it is insipid won't stop you from avoiding it like the plague.

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

At once a devastating, curiously uplifting inhuman drama and a superbly crafted genre exercise, Let The Right One In can stand toe-to-toe with Spirit Of The Beehive, Pan's Labyrinth or Orphee. See it.

Astonishing. Kaufman has surpassed himself with a film that will delight and confound. You will want to see it again. And again.

Disappointing. Stone whipped this out in time for the US Presidential election, but it’s hard to see how it’ll make any significant impact on voters. Or why it even should.

This tired, neutered action thriller won't cause you max pain, but you might wince every now and again.

The source material remains affecting and the cast work hard to add dimension to a lacklustre screenplay. But sadly, it adds up to less than the sum of its parts.

Okay, it doesn’t have an original bone in its body, but forgetting the awful title, Sex Drive has its share of snappy lines and decent gags. It’s also got Seth Green and James Marsden on cracking form, which should never be underestimated.

For all the enthralling visuals and action, the film feels garbled.

As a visceral, camera-shuddery ride into foamy-mouthed zombie hell, it’s efficient enough -- but if you’ve already seen [Rec], steer clear...

While never as trailblazing as its subject, The Express is a worthy addition to the lengthy canon of sports biopics

With Ember's hydro-electro-punk charms, Kenan's convinced us he's one of Hollywood's most exciting (and excited!) visualists. But on the evidence of this, his storytelling skills still need honing.

It's a rare film that can simultaneously crack you up and send a chill down your spine. Worth seeing -- even for believers.

Not as smart or as satirical as you might hope, but an enjoyable and often funny look at a mad, mad, mad, mad world.

Handicapped by pretensions to making big statements, Blindness is still gripping, disturbing and intermittently powerful.

One of Hollywood's forgotten masters and one of its brightest new actresses team for what could well be an Oscar wild card.

A fun techno romp, mixing great bang for your buck with insights into the dangers of restricting civil liberties. Now, anyone for Shia killing blondes dressed as his dead mother?

It's like "The Bridges Of Madison County" with more shouting, only not nearly as good. No surprises whatsoever, but nice scenery, attractive stars and another credible, affecting performance from Lane that hoiks it up an extra star.

An uneven take on Palahniuk’s fourth novel, Rockwell and Huston shining brightly enough to eclipse a patchy directorial debut.

If you like Gervais' usual schtick, you might be prepared to overlook the hackneyed plot for the jokes and strong cast.

As a thriller it's solid three-star tension. As a Samuel L. Jackson showcase it proves a man can only coast through so many motherfuckin' or milquetoastin' turns before having to display his full and overpowering talent.

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.

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

Filmically it's more of a pleasantly diverting kick about in the park than a 90th minute back-of-the-net at the world cup final.

A horrific waste of time, money and oxygen.

Brawny but brainless techno-twaddle.

It's nothing more than an enjoyable, ridiculously macho B-movie romp, but it's derson' best movie since the underrated Event Horizon. Perhaps, at long last, he' starting to find his - yep - top gear.

Lightweight but likable.

An enjoyable escapade and a great introduction to the forthcoming series - just not the seventh Star Wars film fans were hoping for.

Within Allen’s recent output, Vicky Cristina is the highlight. See it for beautiful locales, an ambivalent look at human relationships and a clutch of great performances, especially from Cruz.

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.

While the supporting actors are engaging, the turgid screenplay lets the whole thing down.

Fans of David Gordon Green, you may well leave feeling confused. Fans of daft laughs and James Franco, you're in for one of the funniest comedies of the year.

Competent, but so utterly bereft of any memorable moments that it becomes a bit of a bore. Perhaps it's time for a reboot – guy wrapped in bandages, shuffling around a pyramid, scaring people. You never know, it might just work.

This light satire is unlikely to influence the forthcoming election, but Costner's in fine fettle.

Lovingly photographed in a monochrome that recalls Woody Allen’s Manhattan, this is a slickly scripted rom-com.

Original, sad, suspenseful and involving: the kind of work that helps independent American cinema retain its good name.

An okay paranormal mystery, with solid work from the regulars – but please Mr Carter, next time, could we have liver-eating mutants or post-modern comedy like the really good episodes of The X Files?

It's no Anchorman, but it's several steps in the right direction.

Okay for those who dote on ‘classics illustrated’ in the Merchant Ivory line, but not as fluid as all that.

Ledger's performance is monumental, but The Dark Knight lives up to it. Nolan cements his position as Hollywood's premier purveyor of blockbuster smarts – and the Batbike is kinda cool, too.

Cute, clean, camp fun, full of sunshine and toe tappers. Guaranteed to put grins on tweenies who are in to High School Musical, grans with a pair of platforms still at the back of the wardrobe, and a lot of people in between tone.

Director Johnny To's previous flicks are slicker affairs, but there's still plenty here to please the fans.

As much Tolkien's baby as Mignola's, this has more heart and humour than most fantasy films can dream of. Hellaciously good.

Fraser on form, 3D dinosaurs, geology lessons, phosphorecent hummingbirds, killer flying fish, theme park rides, Icelandic babe - what's not to like? It skews young, but is everything an 8-12 year-old could want. Older siblings and parents will have nothing to complain about either.