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.

What makes the film work is the double act between the two actors, and some great one-liners that pepper the script and cover up the fact there isn’t a great deal of originality in the plot.

Statham and Johnson hold even the faltering moments up through sheer charm, their chemistry never better than when the film lets them lean into the slapstick of two macho doofuses having to work together.

While it may blunder down the odd comedy cul-de-sac, Madagascar 3 is often inspired and very, very funny.

An interesting and catchy take on a traditional tale of repressed teenage rebellion.

A suspense-filled nailbiter that plays on a fear no weapon weilding psycho can top.

Warm and heartfelt performances from the two principals are undercut by a formula that too readily reveals the outcome. Interesting workings fail to fully add up. Must do better next term.

A severe portrait of fortitude under extreme pressure, somewhat marred by blinkered politics.

Smallfoot effectively weaves powerful messages into a fun, heart-warming animation that is sure to appeal to audiences both young and old.

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.

The things Sorkin is criticised for — grand speeches, an earnest streak — are the things that make his work sing when the context is right. The drama of this legendary TV couple gives him plenty of material to do some of his best work.

The first Mamma Mia! often felt like being trapped on a non-stop rowdy middle-aged all-singing all-dancing holiday (in a good way). Ten years on this second trip feels older and wiser, for better or worse, and despite the odd misstep you’ll still be dancing in the aisles come the end credits.

Missing the punchy plotting of the Coens thriller it resembles, the early chuckles don't quite translate into a satisfying whole.

It comes across as a man's eye view of what a women's film should be like, and although it's not altogether clunky, you can't help but feel that in the hands of a more sympathetic director it could have been something really quite special.

One of the best mainstream action-thrillers [in] a decade.

Like Lansbury, the film has aged well and retains almost all of it's magic.

A low-fi indie that swiftly slums into terminal feyness.

Hard to call something this gratuitous entertainment but certainly lingers in the memory, thanks mainly to the bombast of Stone's script.

A compelling and moving interpretation of a largely forgotten moment in European history.

Considering the danger, spectacular setting and sheer derring-do of its subject matter, this is pretty leaden stuff. Disappointing.

The Moomins’ adventure is, despite its French joie de vivre, full of the knowing wit and wry Nordic wisdom which have ensured their popularity since 1945. A treat for the whole family.

Pugh and Garfield are a dynamite duo in this likably earnest, satisfyingly complicated love story. Worthy of your time, and your tears.

Grim and gritty. Warning: contains punishing scenes of testicle burning.

With its edgy style intact, The Immortal Man never takes its eye off the Peaky faithful. But keeping the fans happy is a double-edged sword, as it can’t help but just feel like an extra-long episode rather than a standalone cinematic experience.

The filmmakers try to solve the problem of turning an experience which merely consists of a series of fights into a story by... ignoring it, presenting a film which merely consists of a series of fights.

This is arguably although unfortunately Goldie Hawn's most memorable role. For while she embodies the character perfectly and when the jokes are funny they are hilarious, sadly there just isn't enough to keep the film going and it begins to run out of steam half way through, with an attempt at a deeper meaning ruining the film.

It’s not a reinvention of the wheel, but in 3D this is an astonishing experience that borders on ‘must-see’, and raises the bar for what James Cameron is planning with Avatar. And you’ll be glad to know that the creepy dead eyes thing has been fixed.

A patchy follow-up to the searing ’71 from director Yann Demange, but one which tells a compelling true story and offers a treat of a supporting turn from Matthew McConaughey.

The film doesn’t quite trust the magic of the garden, adding visual dazzle and, sometimes, artificiality, but when the film relies on the kids and their relationship it still finds the book’s magic.

This has charm and glamour but little profundity.

Still smart, still exciting and still action-packed. It's just a shame to note that, after promising greatness, all Spider-Man 3 delivers is satisfaction.

It may lack subtlety, but everything is beautifully designed and photographed, Watling and Tosar are superb and it's undeniably great fun.

Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.

It’s thinner than the paper it’s written on, and full of questionable choices — but in a switch-your-brain-off kind of way, this will adequately activate your heist glands. Light the fuze!

Amused, maybe - but you won't be seduced.

After the fizzle of the later Roger Moore Bonds, The Living Daylights brings in a new 007 in Timothy Dalton, who manages the Connery trick of seeming suave and tough at the same time, and tried to get away from the weak comedy in favour of proper international intrigue.

It’s an energetic survival thriller and terrific showcase for Lively’s chops, but iffy plotting and a sloppy climax detract from the terror.

The only obsession on display here is De Palma's - with Hitchcock. It's an unhealthy one too which results in an out of focus rip-off.

Pine supplies gravitas in the lead, but he’s almost a lone voice of moderation. Bloody and brash and as subtle as a trebuchet, this is gleefully entertaining — unless you’re English, anyway.

Controversial and contended it may be in France, but whatever your stance this is another thrilling and thoughtful slice of history from the "Days Of Glory" director.

A very pleasurable surprise, with likeable leads, the right amount of gore, and some incredible near-the-knuckle gags that you can’t quite believe writer-director Forsythe even attempts, let alone gets away with. Far better than the 1989 Fred Savage-Howie Mandel movie of the same name.

Fun if uneven stuff from Ratner. A welcome return to form for Eddie Murphy and an even-more-welcome turn by the ever-excellent Alan Alda.

If the script lays the broken heart metaphor a tad too thick and the ending has a fatal inevitability that you can spot a mile off, Bill, to his credit, plays it all straight from the heart (pun intended). Go armed with a very large box of Kleenex.

Exceptional turns by Mélusine Mayance and the ever-excellent Kristin Scott Thomas illuminate a tense and compelling story. The contrived modern-day framing works less well.

A fitting conclusion to Jackson’s prequel trilogy and a triumphant adieu to Middle-earth. Now complete, The Hobbit stands as a worthy successor to The Lord Of The Rings, albeit one that never quite emerges from its shadow.

Some wonderful visual flourishes and two brilliant central performances by Wright and Lawrence help to illuminate the Gibbons sisters’ headspaces. But without important context, true insight and understanding remains elusive.

Castellitto deserves great credit for toning down the melodrama in wife Margaret Mazzantini's novel and producing a very human story about chance, choice and consequence.

As a film in its own right, this quirky Ray Harryhausen tribute (a skeleton army!) rocks. As an Evil Dead film, though, it’s ultimately not funny, scary or gory enough.

A quiet and meditative portrait of the artist as a retiree, this lacks incident or high stakes but has an elegiac feeling of regret and reckoning that fits its subject’s twilight years.

But what starts out so promisingly with some witty one-liners loses itself in the middle and finally descends into a slapstick routine that cries out for a touch of sophistication.

Charming slice of small-town France.

Chilean writer-director Sebastián Silva’s neither-fish-nor-fowl narrative plays tricks on our minds, without fully engaging our senses.

A risky project for Foulkes to make as her first feature, Judy & Punch ventures a little too far into troubled waters with its comedic handling of heavy matter, but shows promise in the woman holding the strings.

Derivative sci-fi hokum but some imaginative touches here and there.

Loveable - especially if you're as fond of a pun as we are - and extremely silly.

Godzilla Vs. Kong mostly delivers on its promise of a big monster fighting another big monster. It just depends whether you’re willing to sit through the toe-curlingly bad set-up that surrounds it.

Only stony hearts won't be moved by Attenborough's vivid, if occasionally sentimental, evocation of a great well of human potential cruelly snubbed out.

A likeable cast and colourful depiction of Pakistani (and Pakistani-British) culture makes this look warm and inviting, but the central romance can’t hold our attention as it should.

Much better appreciated as an unlikely friendship story than the raunchy comedy it’s billed as, No Hard Feelings is formulaic but fun, fuelled by the lead pair’s engaging chemistry.

Working off source material that is very different from its predecessor, anyone expecting a straightforward Shining sequel will be disappointed. This isn’t a gruelling exercise in pure horror. It’s odder and more contemplative, but worth checking in.

There was no way, no matter how much Spielberg flounce was imbued in this sprightly sequel, that it was going to be as good as the original. It isn't. By a long shot. But even two thirds of the way toward Jurassic Park is about a third better than your average buster of blocks.

Potentially horribly worthy, or even irritatingly superficial, the film succeeds simply by not trying to be too clever or too intense.

Zosia Mamet is the major selling point here. In a film that’s lovely but unlikely to prove memorable, she shows she can carry a film with immense charm.

A well acted but unfocused study of one of the 20th century's most colourful characters.

Very of its time but enjoyable for all that.

There’s a good-hearted father and son tale at the heart of the madness here, but the surroundings are sometimes a little too silly for true greatness.

It's a war story with all the action removed and moral conflict inserted in its stead. That you're no longer allowed to boo is bad enough, but asking anyone to root for this bunch of drips is adding insult to injury.

It goes nowhere fast and Kechiche’s camera consistently ogles his female cast but he remains a terrific director of actors, the intimacy and authenticity conveying a real lust for life to sweeten the hefty running time.

Although it’s like being assaulted by a jumping jukebox for two hours, Garth Jennings’ first animated movie has enough bounce and brio to carry the day. Immensely likeable.

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.

An absorbing, well-acted psychological thriller that loses its grip as it slips into sensationalism.

Driven by a boss Jeremy Allen White performance, Scott Cooper’s Bruce Springsteen biopic — just like its subject — finds its true voice once it stops trying to play the hits.

A solid bit of high-concept B-movie fun, establishing Josh Hartnett as a credible action hero, and James Madigan as a genre director to watch.

Genuinely creepy, satirical and occasionally daft horror tales with a distinctly moral bent.

A romantic-comedy that packs charm, humour and warmth in spades.

The plot is insubstantial in the extreme, but Rae and Nanjiani are so cool, and their loose, free-flowing improv so winning, that you probably won’t care.

Despite the schmaltz this reviewer lapped it up, not least for the engaging teens, including Alicia Witt, and the spectacle of Dreyfuss strutting his wily stuff to Louie, Louie.

It’s not a hugely innovative biopic, covering just a short period of Bader Ginsburg’s extraordinary career, but this is still a vastly inspiring account of the fight for equality.

While not always penetrating the myths around the man, this is a hugely entertaining look at one of Hollywood's larger than life figures.

With Neeson on fine form and an encouraging start, it’s a shame that this gritty crime drama feels the need to erupt into a full-blown action movie by the end.

Possibly not the worst animated feature the House Of Mouse has produced, but certainly stumbling around the darker recesses of the Disney vault.

Falls into the "interesting failure" category.

It's charming enough.

Though the story occasionally stretches credibility, the warmth and wit so reminiscent of the original Bridget Jones's Diary propels you along, being due in large part to the return of one woman: director Sharon Maguire. You feel her filthy, funny thumbprints pressed on almost every scene.

There’s not a lot of consequence to this bizarre meeting, or really the film, but as a character study of two men alone at the top, it’s both very funny and quietly astute.

By driving back to the core homespun wisdom of Cars, the third film is a course correct from the second. But this is still not vintage Pixar.

It’s never quite as satisfying an experience as Schitt’s Creek — but thanks especially to a sparky trio of actors, Daniel Levy’s directorial debut is strong when it comes to the heartache of grief and the importance of friends.

It's scatty, scrappy and thoroughly OTT, but then that's like the characters themselves.

Neatly balances a folkloric coming-of-age tale with violent action thrills.

What could have been an effective excoriation of US drug policy and a proper look at the violence inherent in the trade is wasted on a simplistic thriller that offers very little, especially given who is behind the camera. Sorry if that harshes anyone's buzz.

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

Enormous fun.

Like 2001, Star Wars and Jurassic Park, it ups the special effects stakes and gets closer to putting on screen the images you've had in your mind while reading epic sci-fi.

Sound tricky? It is, and all a little too cutely so, the switches back and forth between realities ever more contrived and eventually tiresome, prompting giggles of relief as the storylines painfully draw towards a soap operatic convergence.

Exploring workers' rights in an age of mechanisation and recession, this isn't always an easy watch. But it's played with spirit, filmed with integrity and is pleasingly full of surprises.

A dark and darkly funny dissection of a couple’s ‘perfect’ relationship, examining how internal forces and exterior pressures can drive two people to their breaking point.

A welcome surprise, containing more bona fide scares than Romero's vision, while paying grand lip service to the old master. Truly worthy of that famous title.

The action is enthralling even if the storyline doesn't always have the ring of truth about it.