The sustained furore of humour, visual panache and headlong momentum makes for dazzling cinema.

Broader and more accessible than either "Shaun Of The Dead" or "Hot Fuzz," Paul is pure Pegg and Frost - clever, cheeky and very, very funny. You'll never look at E. T. in the same way again.

Slightly jerry-built reconstructions detract from an intriguing film with a unique angle on the country legend.

This is intentionally jagged but nevertheless frustrating, a little too self-satisfied for its own good. Yet there are some great moments and, when it relaxes a bit, it has charm to spare.

A compelling story bolstered by engaging performances from Jessica Chastain and Daniel Brühl, let down by occasional awkward tonal shifts and clumsy plotting.

A handsome epistolary affair gives way to a more formulaic matchmaking story, in an alluring romance that loses its shine. Maybe some things are better left in the past.

This collection of tired jokes is enough to prompt the question, “What day did the Lord create Spinal Tap II: The End Continues, and couldn’t he have rested on that day too?”

The Thing is a peerless masterpiece of relentless suspense, retina-wrecking visual excess and outright, nihilistic terror, placing 12 men at an Antarctic station while a shapeshifter takes them over one by one.

It doesn’t always work, but an unexpected, perfectly pitched bad-guy turn from national treasure Hugh Bonneville makes I Came By just about worth stopping by for.

An ambitious thriller from Pawlikowski assisted by excellent performances from Hawke, Kulig and Scott Thomas.

What it's really about is taking a second chance to make good on old regrets and dead hopes. Never mind the baseball, this is one for the heart, made beautifully.

Where The Hole really scores — and this is rare in modern horror — is in its lead characters.

There was so much potential, yet when it came down to it, Coppola made his Dracula too old to be menacing, gave Keanu Reeves a part and took out all the action. So all we're left with is an overly long bloated adaptation, instead of what might have been a gothic masterpiece.

Turn off the snark-o-meter, and this is a return to form for Marvel, introducing a new hero we'll be happy to see again in, oh, about a year or so.

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

Despite good performances and an interesting milieu, The Wedding Guest doesn’t deliver as an exciting genre piece or thought-provoking drama. Michael Winterbottom is a master in many areas but the thriller seems beyond him this time.

Expertly handled by director Doug Liman, wittily scripted, and boasting a wonderfully original take on the action hero archetype, this new Road House is a total riot.

Undemanding, entertaining and thoroughly enjoyable.

De Niro's little known masterclass makes this essential viewing.

With such a sprawling and over the top plot, it's hard to remain focused on what's important. Bertolucci is so concerned with the epic quality of the film that he forgets to give it any real substance. Reeves doesn't do himself any favours in his turn as the unconvincing Buddha either.

In depicting the Johnson County War of 1892 (immigrants versus cattle barons), Michael Cimino delivers soaring ambition and scale, but always syringed with a deep sense of regret.

While Michael Pearce’s second feature may not deliver quite the same wallop as his debut feature Beast, it demonstrates the same mastery of filmmaking craft and another incredible performance from Riz Ahmed.

If there's a criticism to be made, it's that the script doesn't push itself far enough with the moments in which it excels.

A romance not nearly as seductive as its lead actress.

Comedy for grown-ups that sometimes struggles with its ambitious brief, but always remembers that the best laughs contain the odd shard of shrapnel.

Think Donnie Brasco, with the IRA instead of the Mafia. Jim Sturgess dominates with a star-making turn, although some stylistic slip-ups let him down a little.

An impassioned and imperfect portrait of teenage grief and heartbreak, Chemical Hearts takes its audience seriously. For every teenager who has ever felt alone, this feels like a tailor-made care package.

Army Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. When he aims for more emotional territory — like the rather trite guilt-to-redemption arc between Scott and his estranged daughter, played capably by Ella Purnell — we start to feel the weight of that running time.

Macdonald's film is a noble stab at bringing Meg Rosoff's YA novel to the screen, which sees Ronan in typically watchable form.

A lesser entry in the LeCarré Cinematic Universe, though Damian Lewis and Stellan Skarsgård rescue it from complete blandness.

Interesting but flawed.

Though things go off the rails in the third act, Arcadian’s intriguing premise and inspired monster design pack plenty of scares into this post-apocalyptic fable.

Strong performances and a few laughs, but the story feels lazy next to superior efforts recently in the same genre.

Its heart is in the right place, but some lively performances from the better-than-you’d-expect ballers-turned-actors can only paper over a thin, cliché-riddled script so much.

Boring and Silly, Ronin is a better example of Frankenheimer's direction.

Fans will relish the chance to see Katy's rainbow-tastic live shows magically enhanced by 3D technology. Those indifferent to her will leave as perplexed about Perry's superstardom as they were before.

Huston, showing admirable range in his old age, creates enough on-field magic and nostalgia for the beatiful game as an idyll of now-extinct sportsmanship, you can almost forgive the boss's choice of goalkeeper. Almost.

A solid, straightforward biopic about a fascinating individual and his destructive relationships, with strong performances and a healthy sense of naffness.

Hardly a barrel of laughs then, but this slowburn tale sears its way onto the synapses and then flat refuses to budge.

Atmospheric and engrossing, this meticulous recreation of time and place acquires an unsettling contemporary relevance through its analysis of the mindset of a mass murderer with a death wish.

The missing link between '00s wushu, '80s kids' fantasy and '70s chop-socky, this manages to be thoroughly entertaining - and the face-off between Chan and Li is worth the entrance price alone.

Although the pleasures of the flesh are shown with enough erotic power to convince us of Hélène's addiction to them, the anonymity of the lead characters stops the film from truly gripping. 

Performances are good but not career best.

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.

For all its formula, Instant Family is a winning confection, unafraid to go to unexpected dramatic places and elevated by Byrne’s gift as a comedy foil and Moner’s lively but subtle turn.

Hargrave, a stuntman turned director, knows where to put his camera for maximum impact, and genuinely disturbing foley work showcases sounds of crunching bones and splattering blood. You feel every punch land.

What could have been a simple retread or by-numbers continuation instead throws itself headfirst into time-twiddling absurdity. High art? No. A total blast? You bet.

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.

While it's neither as dark, funny nor peculiar as you’d expect from Tim Burton, there’s still much here to admire.

Pitched awkwardly -- neither for children nor cool young adults -- it's very sweet, very nice and just the thing for a girlie matinée with mum and nan.

Adapted from the Stephen King killer car novel, this John Carpenter film is more like an assembly line vehicle than a customised job, but is nevertheless a slick, entertaining piece of work.

Prepare yourself for a shock: a horror remake that, at its best, manages to recapture the original’s hardcore nastiness. It could certainly do with laughing at itself a bit more, though.

Weirder than Ragnarok, but incredibly sincere in its outlook, Taika’s Thor-quel is a big, beautiful blast. You’ll love it, and probably thunder it too. What a classic Thor adventure!

Spirited, amiable, featherweight summer fun.

Many will love this because it forces them to cry; others may resent it for the same reason.

Cinematography, production design and music are all top-notch, but the film largely succeeds because of the leads -- two fine actors at the top of their game.

Funny and unthreatening, it's not subversive but it's plenty of fun.

A sometimes whimsical and magical take on the life of one of Britain’s most artistically charged rock stars. Serkis shines in his role as the troubled singer.

It’s a well-made adventure with great energy and considerable style, but it’s essentially a maze without an exit.

Great on his early life, but doesn’t really illuminate his genius as a filmmaker.

There are highs and lows here, with a fair amount of shoe leather required before you get to the good stuff. Pretty much like a real festival, appropriately enough.

Thoughtful trial movie with a disturbing edge.

The Dive uses its underwater setting to add new thrills to a formulaic survivalist story, even if its attempts at emotional depth end up feeling a little shallow.

Great cinematography captures the spectacular scenery and the directing is as assured as the stimulating array of characters.

Rourke and Rockwell make satisfying, complementary villains, while Downey Jr. delivers again. Shame this sequel feels inessential, over-busy and a little, well, mechanical. Nothing they can’t put right for Iron Man 3.

It's not vintage Pixar, but Cars 2 is still streets ahead of most of the animated pack. For all its energy and Bondian panache, perhaps its problems are insurmountable: Pixar's cars - and their universe - don't resonate and endear as much as its toys, monsters, clownfish and OAP dreamers.

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.

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.

A few more laughs wouldn't have gone amiss, but then baseball's a serious business - especially when you've got your maths homework to finish before the team talk.

A typically taciturn turn from Neeson is surrounded by a colourful cast, gallows humour and complete disrespect for cinematic stereotypes. A little bloated, maybe, but deserves kudos for joining the road not Taken.

For all the gags flying around, and all the friendly insults batted between Blanchett and Black, the script lacks the sparkle and polish of many of the classic Amblins it so enthusiastically emulates.

Foxes with bows and arrows..what could be better than that?

Visceral and inquisitive, this well researched movie offers a punchy insight to prison life. Unfortunately, it is a familiar and tepid storyline.

Deliciously sick and delightfully cast.

The three leads make a decent fist of it, but they're somewhat let down by a script that fails to sparkle and a less-than-perfect balance of action and emotion.

The film drops from obvious comedy into a ready melt slush which no amount of make-up and special effects can rescue.

Diehards might be disappointed at the lack of chainsaw wielding, but this is Campbell’s finest hour since you-know-what.

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.

Peckinpah is never quite as comfortable with the high-rise terrain (including sloppy kung fu) as he is with the dusty rawhide of the West, but it still shows up the slick trigger-edits of new action cinema for the gutless vacuum it has become.

A solid shark thriller whose admirable but clunky eco-warnings almost get in the way of a good time. Best when it allows itself to really go in-Seine.

Deftly balancing multiple genres, Tornado’s occasional pacing issues are propelled by Jed Kurzel’s ferocious score, Robbie Ryan’s haunting cinematography, and standout performances from Kōki and Tim Roth.

A strong visual style tussles with flaccid storytelling in this ambitious retelling of Grimm. It won't exactly have Walt Disney spinning in his secret ice chamber, but you may wish they spent more time worrying about what exactly the film is than who it's for.

Tom Hanks is more than enough to make this almost one-man show thrilling and heart-breaking. Prepare to weep. Doubly so if you’re a dog person.

It's a good story, well told.

A compelling, if well worn , topic — work/life balance — is brought vividly to life by a great Binoche performance.

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.

This movie-movie gem scores on levels few horror films ever have. Not just a disturbing ride but also a hard-hitting political statement.

What promised so much, delivers so little thanks to a script that too often veers from the point. A missed opportunity.

There are few surprises on offer here; the comedy is engaging without ever being side-splitting, the dramatic conflict convinces without going overboard, and the denouement, feelgood as it is, can be spotted a long way in the distance.

Like a good butcher’s cleaver, it’s weighty, solid and sharp — an effective matching of director and star in what is hopefully the first of a new film series.

Every one of its cues might be tele-prompted, but this is an assured, likable comedy. Ford is as good as he's been in ages, but the stand-out is McAdams. If there were any justice, the movie would send her stellar.

With such strong acting support from Paxton and Margulies, Green could have produced a dynamic drama. With muddled characterisation, a slight script and an over-the-top ending, it emerges as an ill-conceived attempt to make a thriller out of almost nothing.

Crediting its audience with emotional intelligence, this rises well above your usual rom-com-dram. But if you’re planning on seeing it with your other half, be warned: it might invite some uncomfortable discussions afterwards.

Though it takes too long to get into the swing of things, Sting delivers faint echoes of the B-movie classic it wants to be, offering a memorable foe in a giant, bloodthirsty spider.

Guy Ritchie delivers a nice surprise: an LA neo-noir with high-voltage action and an ice-cube-cool Statham. If it gets a bit tangled up in its time-hopping reveals, it’s largely 
an enjoyable, rattlesnake-mean thriller.

Straightforward, unpretentious and well-acted, this is a solid if unsurprising genre piece.

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

These bosses cannot justify either murder or lasting comic memories, fatally compromising a farce that could have been great but ends up merely mediocre.