The stiffness in the writing and general lack of subtlety leave this feeling underwhelming and overwrought. As a moral fable, The Forgiven offers little genuine critique.

This Neil Simon-scripted pastiche of an array of much-loved detective characters is surprisingly charming.

A loopy joy from start to finish, Bradley Cooper proves that he's the real deal.

Odenkirk as an ageing action hero is still a violent delight, but the storytelling in this sequel leaves much to be desired.

Jurassic World is fresh and thrilling, and while it often tips its hat to the original, it’s not a slavish copy, introducing more than enough new wrinkles into the prehistoric playbook to launch a new wave of sequels.

Merrily gruesome black comedy.

A daft movie, but one not without its moments of healthy radiance, spurred on by some bristling gags and a welcome comic return by Emma Thompson as a gauche fellow doctor caught in a romantic sub-plot.

Jordan has, though, made an important film, based on the wise predication that only through understanding can come peace. And if that sounds a bit pompous, it's also a damn good trip to the flicks.

Ultimately make no more than a cosmetic effort to disguise its stage origins.

This time the banter is tighter and funnier, and Calvin’s musings on the importance of community seem more heartfelt.

The effects, arguably the best of the year, only add to the thrill.

This subject demands a Godfather Part II, but Stone and collaborators have turned in a Godfather Part III. There is a lot of good material, but LaBeouf nearly sinks it and we could use much more of the old Gekko brimstone.

It’s a sad, emotive, important subject but it deserves a more detailed, heartfelt film than this.

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

Ustinov may not be the Poirot that we all think of now, after the David Suchet series, but this is pure Agatha Christie, steeped in nostalgia and atmosphere.

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

Another coming-of-age tale about three boys and their quest to become men, which invariably revolves around having sex and puerile behaviour but then changes tack completely by giving us lush scenery. If the director had remained with one idea then perhaps the end product wouldn't seem so varied.

A lean and mean throwback of a thriller bolstered by excellent performances and first-class filmmaking. Occasionally bites off more than its CG budget can chew, but when director Taylor Sheridan keeps the action grounded, it’s sweaty palms central.

Not so much bad Bad Boys, more good Bad Boys. And not so-bad-it’s-good Bad Boys either. Instead, this is comfortably the best entry in the series to date. Which isn’t bad.

Thankfully Annaud's stunning direction takes in the beautiful scenery allowing a mild diversion from the scenes of romance.

The story is a bit slight, but it’s fun to watch Ana de Armas punch, shoot, stab and blast everything and everyone in her way. A Wick-edly entertaining addition to one of cinema’s best action franchises.

Sweet, funny, simple, entertaining -- everything a good rom-com should be. Definitely...

Bold, devastating and utterly beautiful, Todd Phillips and Joaquin Phoenix have not just reimagined one of the most iconic villains in cinema history, but reimagined the comic book movie itself.

The definitive wacky screwball comedy that spawned a genre.

Another ‘live-action’ remake that’s darker and less compelling than the animated original, but it’s saved by Bailey’s charming performance, McCarthy’s sass and the story’s own eternal magic.

The forceful imagery and acute sound design make Natural Light worth surrendering to, but a frail narrative may leave you feeling like you’re in no man’s land.

There are some poignant moments, but Steven's decision to shoot a claustrophobic movie in CinemaScope and the stage-bound feel of the whole enterprise never bring the action to life.

Connery has a ball with great stunts, snappy dialogue and a bevy of typically Bondish beauties.

Music And Lyrics never really finds its tone. Fans of Barrymore and Grant are likely to enjoy their pleasing ramblings, and the modern-day, down-to-earth courtship is handled well. But this is unlikely to go down as either actor’s finest hour.

Clever cybernatural thriller.

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

Strictly-for-fans-only. Bono is a charismatic chronicler of his own life, but the self-conscious storytelling concept is a harder thing to stomach for non-enthusiasts.

With his fourth film as writer-director, Judd Apatow has arguably made his most personal film yet, without forgetting to make us laugh.

It's telling that the film is still only truly memorable for the closing five minute bulletfest, which turns Clint's bus into the only thing with more holes in it than the screenplay.

Action filmmaking at its best; a career high for director Harlin and arguably Stallone as well.

What could have been a mere IP cash-in instead becomes an unexpectedly cinematic crime-and-couture romp, delivered with the sort of style, snarl and eccentricity that Cruella herself would likely applaud. She makes being bad look very good.

The tennis itself is ridiculously far-fetched, and yet this may still be the best tennis movie ever made.

As kiddie entertainment it works well, with simple humour and lots of action. But there's not a lot to appeal to any accompanying adults.

Okay, so it’s Cujo with a chimp and a pool instead of a dog and a car – but Primate delivers good, gruesome business and has a sense of fun. Solid horror hokum.

As awkward as McGregor's geeky hero and almost as confused as the titular plan, Salmon Fishing is still very likable if you're prepared to take the bait. And it might even be Scott Thomas' funniest turn since "Four Weddings And A Funeral."

It’s not the toothless remake we feared, and is often very funny, but there’s a slight imbalance between the Roses that blunts some of its effect.

The plywood acting’s pretty funny, as is the coy sex; what amazes is the beautifully lurid, near-fetishistic set design.

Round two’s double-or-nothing approach means there are fewer surprises this time around. Yet as Weaving’s endlessly watchable bride gets even bloodier, it’s hard not to crack a smile at the relentless fun.

A largely painless viewing experience — but it could have been far more pleasurable.

Full-force performance form Ryan Reynolds but not as funny as it hopes it is.

If an uneasy mix of humour and sadness never quite gels, its message is clear and its cast uniformly strong.

As Marmite-y as Stuart Murdoch's music, you'll find it either winningly charming or irritatingly fey. Either way, its warmth shines through.

In seamlessly interweaving top-notch CGI and incredible stuntwork, Cohen has delivered some of the finest auto-action ever put on screen.

Funny and shocking, Get Away is not always a successful holiday-gone-wrong, but its bloody bonkers final act makes it worth the trip.

Murakami's 'unadaptability' for the screen is self-evident to fans of his books, but this is a noble if bleak first stab.

Grotesque rather than scary and severely underplotted – but certainly strong meat.

Lacks the classic Disney charm that works for adults as well as kids.

Less ambitious than The Tree Of Life, To The Wonder remains 100 percent pure, unadulterated Malick, an absorbing, thoughtful, moving meditation on the things that matter.

The song and dance scenes are hard to beat in terms of sheer energy and atmosphere, but the dramatic storylines leave several loose ends.

Affleck and Bernthal make a funny, if morally dubious, double act, as Christian’s autism lets sociopathic hit man Brax think of himself as the ‘normal’ brother. Best bit: the line-dancing scene.

Same old sequel squanderings.

A bit silly really but it has a bizarre mix of a cast and some tension in places.

Moving and insightful. Not a classic by any means, but a fascinating glimpse of the way we live today.

It takes a while to get going and never outstrips its theatrical origins but gets by on great actors working through meaty scenes. See it for Streep vs Redford alone.

A psychologically merciless sequel, everything here is as it should be: deeper, scarier, funnier. Muschietti in particular has stepped up, skilfully guiding us through a rollicking funhouse. It is obscenely entertaining.

Criminally overlooked in the States, this is one of the best horror movies of the last few years.

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.

Singer's absence is felt but not fatal. By adding too much new blood Ratner loses some of the original DNA, but with its nifty set-pieces and a few nasty surprises, X3's still a worthy enough sequel to ensure it’s no Last Stand.

While not quite the war movie that many of us were hoping to see right now, Mendes’ dispassionate take on the first Gulf War has many merits, and it does bring vividly to life the peculiar dilemma of the modern soldier.

Class Action, which becomes unbearable whenever the lead characters talk about their relationship, has precisely two and a half things going for it, the half being Mastrantonio's Italian grin.

Despite messy plotting and occasional ill focus, fantastic lead performances help The Strays find its way before a knockout ending really carries Martello-White’s eye-catching debut home.

There have been far, far worse remakes out there. Harmless, feel-good fun.

Yes, Jason Bourne basically amounts to a trio of action set-pieces elegantly strung together. But who really cares when they’re this impressive?

Geoffrey Rush and Judy Davis, predictably impressive in the roles of abusive, alcoholic dad and troubled-but-tough mum.

If it’s psychological horror you love, Nocturne will be music to your ears. If not super-scary, Quirke’s film is an accomplished, uncomfortable tour de force.

Many will find Kansas City unbearable, because Leigh (with a mouth full of jagged teeth and a permanent snarl) and Richardson (who totters along in a druggy stupour), give brilliant performances as extremely unpleasant characters. Furthermore, the ending is a real slap-in-the-face downer. But if you can get past that, this is the real stuff.

It's a million miles from MTV chic; instead a timeless record of a timeless band, now fifty-somethings uniting an everyman/woman/child audience. Feel the power.

Genuinely gripping, Demi makes an awesome femme fatale.

The story of how Flamin’ Hot Cheetos came to exist barely demands to be told (if it is even true). But like all good junk food, there are still some guilty pleasures to be had here.

It’s far from a complete biography, but it makes at least some effort to engage with the messier aspects of Lee’s life. Ultimately, however, this is a celebration of Lee and the cheerleading he did for comics, and that is surprisingly moving.

A sorta-sequel to Mrs Brown deals effectively with another of Queen Victoria’s unconventional friendships and reprises Judi Dench’s powerful and unparalleled portrayal.

Not one to let slow-building tension and mystery get in the way of wild flourishes of extremism and shock, Ken Russell hit upon a story that more or less handled his structural excesses and tendency toward blasphemy.

The music, even after a quarter of a century, is the film's redemption.

A mix-tape of successes and failures, perhaps too light for its subject, but a silly, easy watch.

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.

Everything from the style to the casting feels grubby and worn.

A demented slice of widescreen right-on action-funk from the blaxsploitation era.

Freaky Tales never amounts to more than the sum of its parts — but those parts, while uneven, are always high-energy and entertaining.

It's nothing wildly original, but it is pacey and entertaining when it gets going.

An average movie improved by Cruise's star appeal and accomplished supporting cast.

An intense mix of horror, thriller and domestic drama, this is exquisite film making.

A compelling, intelligent and provocative sins-of-the-father story with a terrific ensemble cast, and a standout Mr. Ripley turn by the ever-versatile Gael García Bernal.

You'll know exactly where it's going, but it still has Clint doing full-on-cranky and is a fun finger-up at corporate suits the world over.

It's not always easy viewing, but Hard Candy is an intelligent, challenging film which deserves to be seen.

This looks lustrous (thanks to cinematographer David Watkin) but it's bankrupt in terms of ideas and execution and both leads seem uninspired.

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

This no-brainer is fine if all you're after a bit of escapism, but don't look for anything deeper than that.

It may be a tad predictable, but Eternity skirts the trappings of its romcom tropes by elevating the love triangle to a riveting existential quandary.

Part time-travelling family drama, part idiosyncratic immigrant-adventure comedy, An American Pickle’s gags underwhelm, but its emotion and originality will surprise you. One of oddest films of 2020 so far, buoyed by two superb turns from Rogen.

Take an uncharismatic leading man (Bill Campbell), an obviously pre-Oscar Jennifer Connelly, a scene-chewing Timothy Dalton and action that doesn't start until halfway through the film and what you have is one of 1991's more disappointing summer flicks.

So insubstantial it may not actually exist, The Mule is very much the latest in a long line of minor Clints. But it might help pass the time on long journeys. Just make sure you don’t watch and drive.

DreamWorks could be entering a period of fresh creativity. With How To Train Your Dragon and a balanced, darker-hued and very funny Shrek finale, they’ve found the magic again.

Just a solidly made cat-and-mouse thriller, with muscularly committed performances from its two leads. It’ll make you want to explore the Great Outdoors and simultaneously never leave your house again.