Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.

Carrey's back on top slapstick form and brews up great chemistry with Leoni.

Lovely to look at and with some fun material not of Seuss' invention, but it's too hectoring, like reading an environmental textbook with jolly pictures.

Sadly, though, all this arthouse exploitation fails to reveal as much about contemporary Korea as, say, "Texas Chainsaw" did about the States.

Landis occasionally plays wonderful licks on the cliches, as in an original take on the familiar vampire-burning-up-at-dawn shtick, but like his earlier movies (An American Werewolf In London, The Blues Brothers) this keeps self-destructing on a story level. Of all entries in the recent vampire cycle, this is at once the most hung-up on horror history and the most revisionary in its rewriting of the mythology.

See-saws between straight superhero movie and parody, with layers of soap-opera fudge in between. A lot of solid scenes - but Hancock lacks the power of super-coherence.

Smart, fun, mid-list horror with Scream overtones

A captivating, and sometimes alarming, exposé of the business end of nuclear power. Watch as part of a behind-the-sofa double bill with Countdown To Zero.

Millar's warmth for literary influences continues to buoy his filmmaking, whilst a sturdy British cast and faultless period settings do Dahl proud.

Multi-hyphenate Justin Chon has crafted an impressive melodrama, rich in Louisiana atmosphere and with a timely message, but Blue Bayou is marred by its reliance on symbolism and sentiment.

Erotic at times, certainly, but that's down to the appeal of it's stars and not the minimal clean lines vs. heavenly bodies approach of director Adrian Lyne.

So so adaptation of the Kipling story. The human performances are riotous but their animal counterparts are blank canvases yet to be coloured.

Caine and Duvall paired on screen would be worth the price of admission even if they were just reading the Yellow Pages.

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

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

Good-natured, old-fashioned family entertainment, but Two Brothers never quite manages to strike a successful balance between fantasy and reality.

Strong performances and direction make the most of a lightweight tale.

A mix of the fascinating and the frustrating: some of the dishes are exciting and interesting, however, 108 minutes of detail causes this documentary to fall short of its potential.

This looks and sounds superb. Isabelle Huppert and Pascal Gregory are splendid. But the over-archingly smug sophistication of the enterprise robs it of some much-needed human interest.

Compared to similar genre offerings, this ain't much cop. But standing alone, it's an entertaining and amiable film.

Hustle follows a familiar game plan but executes it well, with a love of basketball culture shining through — alongside a likeable Sandler performance.

The talking heads aren’t particularly revealing and there are some strange filmmaking choices. But McEnroe makes for incredibly likeable company and the tennis, as ever, remains sublime.

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.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

Don’t get too caught up in the all-too-familiar plot, just savour Jake Gyllenhaal’s powerhouse performance in a riches-to-rags-to-redemption sports movie that punches well above its weight.

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

Though a forgettable villain and some uninspiring set-pieces sometimes hinder The Adam Project, Reynolds and Scobell’s cracking performances and the film’s surprising emotional depth make it worth a look.

As a perfectly serviceable horror movie, it at least gets the Exorcist franchise back into respectable territory, but there was the potential for something much better.

If you buy in to the central romance, you’ll laugh, you’ll cry, you’ll swoon. Otherwise, the lingering glances, lip-chewing and regular de-shirting may cause uncontrollable giggles.

Eastwood’s back with a look at manliness filtered through the wisdom of aging. It makes the odd stultifying stop and falls into several cliché potholes, yet Cry Macho ultimately finds its way.

Very hit and miss and not a patch on the first spoof but when a joke strikes home it'll have you going for a while.

An entertaining, provocative biopic with good performances and many strong scenes — but it still doesn’t feel like the full Lovelace story.

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.

Though not always as profound as it aims for, Swan Song is a tender, warm-hearted reflection of a life well lived. If it’s possible for a prolific septuagenarian to be a revelation, Udo Kier is exactly that.

It’s quite an entertaining little effort, combining the craziest aspects of classic Hollywood screwball comedy with the kind of fresh insanity found in the great cartoons.

If the film never completely coheres into a satisfying whole, Days Of The Bagnold Summer has a lot going for it: a nicely judged sense of character, an eye for detail and strong performances, especially from Dolan. It also suggests Simon Bird is a filmmaker worth watching.

Some rather rough animation brings down the otherwise exhilarating Blue Giant, which, in its best moments, transforms jazz music into an otherworldly sensory adventure.

Emancipation can’t avoid the well-trodden hallmarks of slavery stories, nor offer a particularly fresh perspective on them. It’s best when it leans into other modes — and when it centres on Will Smith’s outstanding, understated performance.

There's undoubtedly comedy mileage in an irreverent sending up of the Signs/Magnolia school of everything-is-connected philosophy. Despite the calibre of the cast, the Duplass brothers mostly fail to find it.

Although its intentional twist on age gaps, sex and gendered dynamics is provocative, Nocturnal can’t quite hold the interest for its whole running time — in spite of a brilliant performance from Cosmo Jarvis.

It feels a little like ‘a very special episode of The Walking Dead’ and might be a tad low-key for its field, but Schwarzenegger and Breslin are good and the payoff is affecting.

Although in danger of being unable to decide what kind of film it wants to be, a well-written script and well-judged performances make this a family outing worth taking.

An enjoyable if routine period crime picture with good performances from Jason Sudeikis and Lee Pace, but it lacks a personality and style of its own.

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.

Warm but unassuming family comedy.

It’s very conventional in form and dances round his famous temper, but Never Give In touches on topics (class, identity) rare in a sports documentary, etching a moving portrait of a man reflecting on his past at a point when his memory is slipping away from him.

Despite its shortcomings -- it’s still one of the better teen movies to come along in a while.

Fighter delivers exactly what you’d expect from an Indian military blockbuster – excitement, passion and a level of patriotism that’s equivalent to being repeatedly punched in the face with the Indian tricolour.

While not exactly reaching Ring-levels of terror, it's certainly one for connoisseurs of the weird.

All Of You might only work for some of you, but the easy, insatiable fire between Goldstein and Poots is undeniable. 

Curious allegorical epic which was supposed to speak to Allied spirits during the second world war but was a trifle obscure in its symbolism even then.

Celebrating the triumphs of a brave female athlete, and boasting a strong central performance from a transformed Sydney Sweeney, Christy is a well-meaning but meandering feminist parable.

It’s not trying to reinvent the romcom wheel, and its final bow could be predicted by anyone with half a brain — but I Want You Back is sweeter and more sensitive than you might expect from this kind of broad mainstream romp.

No masterpiece, but a decent rental prospect. Twohy works the Sci-fi genre well yet again.

Paying attention to religious impulses which are all but incomprehensible in the 20th Century, Bresson conjures up a God-bothered middle ages that is harrowing but not, it must be said, terribly exciting.

Unnervingly, it is both hilariously funny and quite disturbing, with Allen's neuroses and fixations manifested in some shocking ugliness and intimately personal revelations we'd rather not have seen confirmed.

Kid-friendly with some neat visuals. Adults will appreciate the dulcet tones of Frasier as the Tin Man.

The Academy might not be troubled, but at times Into The Blue's wet Hollywood bodies really hit the spot.

Derivative but tongue-in-cheek enough to have a following.

Dylan Southern’s film lacks the complexity of Max Porter’s book. But there are strong scenes, and Cumberbatch delivers a performance to crow about.

It’s often enjoyable, occasionally very funny, and has an energy and verve sorely lacking from Fleischer’s last few films. So, while it’s simply, plainly, not as good as the first movie, Zombieland is no longer the odd one out on Fleischer’s CV.

Three films in, and the Lego franchise remains hugely entertaining — though it could do with being less of a chip off the old block.

We expect oddball wit of a higher calibre from Guest and co., although their inherent, zany likeability means plenty of laughs.

It's aimed squarely at the tinies, but there is charm enough here to make it bearable for adults too.

In some senses T2 shares elements with its Terminator namesake. It’s inventive and full of surprises. But unlike Cameron’s sequel, it doesn’t reimagine the original in quite the same glorious way.

Entertaining in places, if only for the fact that unlike most 50s si-fi films, the aliens are treated with some sympathy.

A musical with almost 100% sung verse is not for everyone but Kendrick is as bewitching as ever.

Though somewhat flawed and less artistically daring than it could be, Charlotte still makes for an emotional, humane viewing experience.

Forte and Peake excel in a notable debut from Green that marks her out as a director to watch.

It may not truly capture the complexities of its source material but One Day is funny, winning and entertaining - if little else.

Although sometimes baggy and uncontrolled, The Outrun is a sensitive, non-judgemental portrayal of addiction and mental illness, anchored by a typically transcendent performance from Saoirse Ronan.

The few weaknesses in the plot can be overlooked as The Vow makes for a wonderful - if a bit teary - romance that is brilliantly acted.

Slavishly follows every rule of the kids’ fantasy franchise genre, but it’s a well-executed and imagined world. Bet the sequel’s darker.

The final shot, in particular, is awesome, and confirms that the sooner Cameron gets back to making proper movies, instead of Boys’ Own diversions, the better.

Witty and articulate but the continual editing devices can distract from the momentum.

More engrossing than both "Sully" and "The 15:17 To Paris," Richard Jewell is enlivened by Paul Walter Hauser’s breakout performance yet undone by a lack of subtlety and real dramatic wallop. Solid, dependable, very late period Eastwood.

Excessive and self-indulgent it's true but still the Pythons at their worst are still worth a look.

The Real Blonde has lost that certain something that earmarked DiCillo's earlier, more offbeat outings, resulting in a film which is pleasant rather than innovative.

Pleasant, forgettable.

But for anyone willing to swallow a large pinch of salt there is much to enjoy in the film's numerous nail-munching, white-knuckle set-pieces variously employing firetruck ladders, subway trains and a finale so ridiculous that it just... might... work.

The premise is slightly bizarre but there's enough wink-and-a-nod charm in the performances to earn it a pass.

The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.

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.

Funny and scary - and sometimes both at once - it lives up to the original, even if it fails to surpass it.

Amiably silly and impressively gory, this lives up to both its low-budget inspirations and its rocker stars.

It starts off very sprightly and witty and maintains a high giggle-count throughout.

A gentle, odd little Australian fable. Warwick Thornton’s film has a lot of thoughts to process, and while they don’t always cohere, the performances from Blanchett and Reid keep it interesting.

The performances are solid and the story is touching — and perhaps that will carry this to its chosen audience. But it's a little flat for true drama.

A toe-tapping triumph for dance fans, though less so for non-converts.

Some acute performances do justice to the novel in a quirky adaptation of the novel. Balasko steals the show as the prickly concierge with the warmer side.

Jollied up with some fun anecdotes from Hollywood's great and good, this is entertaining, if hardly hugely revelatory stuff.

Hitchcock for dummies: brisk, jolly, well-played but oversimplified.

This has grit coming out of its ears but not the greatest Eastwood feature by a long shot.

The great circle of life has thrown up a gorgeous, star-studded story, but trading feeling for realism means that we lose something of the original film’s excellence.

Entertaining in places, Medicine Man suffers from a predictable story and annoying supporting characters.

A likeable comedy that uses its greatest asset, its talented, funny cast, to good effect.

1D in 3D: the closest thing to a Shine A Light for Directioners.

Sandra Bullock and Channing Tatum make a sweet and spiky couple in this likeable caper. It’s never going to challenge The African Queen for quality, but it offers 
a consistently good time.