An unrewarding experience that won't scare you, but might make you think twice before opening email attachments.

Just wonderful with its offbeat but wholly credible storyline, down-to-earth style and exceptionally fine performances.

A black comedy with flashes of genius, but let down by a sharp slide into chaos.

Even without his box of political tricks, Oliver Stone remains the foremost cinematic shrink for America's distress.

Brutal, bloody, terrifying, astonishing... And so tense it'll leave you aching. The most significant Brit chiller since "28 Days Later."

A topical study of writers' deceptions, which also explores issues of identity and the blurred lines between fantasy and reality, The Night Listener is intriguing, thought-provoking and harrowing by turns, with fine central and supporting performances and a richly satisfying feel.

On the Ferrellometer, Talladega Nights sits just above "Kicking & Screaming," when it should be redlining it up there with "Anchorman."

Refreshingly free of the gangs, guns and drugs clichés associated with the milieu, this is a satisfying, spicy little picture.

Bearing all the Mann hallmarks, this is visually enthralling, relentlessly stylish crime drama. A little too languorous for its own good at times, but still vastly superior entertainment.

A load of formulaic nonsense that should still turn a few young heads thanks to its fantasy plot and Jesse Metcalfe's chest

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.

Despite the odd moment of visual bravura, this mockumentary is too aware of its own satirical daring. Consequently, it's never as dark, dangerous or amusing as it thinks - and the soundtrack is diabolical.

Sharp, very funny, surprisingly moving and rejoicing in great work from the entire cast, this sparkling little gem takes the family road movie to unhoped-for heights of hilarity and humanity.

Kevin Smith's most enjoyable film since, well, Clerks lacks much of its predecessor's outsider edge, but you'll probably be laughing too hard to care.

There is much pleasure to be had watching a born storyteller juggle more balls than even he can carry.

A scary, sharp, funny movie, this is the best kids’ flick of the year so far.

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.

Too long, and too wrapped up in its various plot contrivances to notice it’s veering off course. But Jack just about pulls the wheel back, aided by Verbinski’s flair for cartoonish comedy action.

Its intelligence makes it near-essential viewing.

This smart and funny creation is not just wish-fulfilment for the "Sex And The City" generation -- it's a Wall Street for the 21st century.

It’s all about heart - not that the spectacle falters; this is the finest popular entertainment since the Rings trilogy closed. Superman doesn’t fly - he soars.

A story that deserves to be heard, but like the EV1, it’s a quiet achievement that should have been much louder.

Another 'nice' Sandler comedy that works, thanks to some smart and genuinely moving ideas at its core.

The predictable plot and gags make you feel like you’re watching it in cat-years, but there are a few successfully silly set-pieces that will delight kids.

A compelling idea delicately handled and neatly played, especially by Bullock. It just lacks the emotional directness to turn the good into the great.

A daft idea perfectly calibrated to Black’s pop mania, then hermetically sealed by a director who thinks he’s making a Hal Hartley movie.

Judged against previous form, this is not Pixar firing on all cylinders, lacking the sophisticated comedy we've come to expect. Judged against fare from other studios, however, it's a triumph.

Not one of Altman’s masterpieces, but aficionados will find pleasures in a bittersweet swansong from the grand old man.

Competently made, and enjoyably played. But you do really end up wondering what the point was. Cinematic déjà vu is the most likely response.

The Break-Up doesn't turn the rom-com on its head, but with its focus on the darker side of love manages to gently tip it on its side.

The cast hurls itself into the comic-book violence, while the stunt choreography and razor-sharp editing are exhilarating.

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.

Powerful, intelligent and surprisingly entertaining.

One of the most talk driven summer flicks in living memory, an out of sorts Howard transforms what should be a fun treasure trail romp into something inert and borderline dreary.

You'll soon be sick of digital furballs, but there’s plenty of fun here.

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.

A shot in the arm for the classic disaster movie: awesome effects, nail-biting tension and a cast of characters we don’t want dead after half an hour - even, amazingly, the cute kid.

Occasional funny moments but this is very very thin.

An unforced, engaging and surprisingly incisive account of the disintegration of British rule in Africa.

A fond and always accessible portrait, but the lack of objectivity and drooling images of Gehry's work deprives this documentary of any objectivity.

For all its self-conscious pizzazz, this is irresistibly entertaining.

An inspired middle-hour pumped by some solid action gives you an idea how good the franchise could be, but we now live in a post-Bourne, recalibrated-Bond universe, where Ethan Hunt looks a bit lost.

Never has the term 'American Independent' so obviously been code for 'wholly miserable experience'.

The script fights well against the cliche-ridden plot but this is very average all round.

Impossible to recommend as a great Friday night out, yet agonisingly vital as thought-urging cinema.

There's charm in this simple underdog tale, but clunky plotting and characterisation mean it has 'telemovie' written all over it.

Williams' virtuoso hijinking and Daniels' Huggy Bearish bonhomie save this from complete ignominy, but we’ve seen it all before.

Long, but engrossing and frequently enraging drama that not only exposes the flaws in the Romanian health service, but also in modern humanity.

A step in the right direction for console-to-screen transitions and a twisted masterpiece of set design. Ultimately, though, it's a little too much like watching someone else play the game.

If hell is in the details, Roman Polanski has captured it here in his disturbing portrait of falling into psychosis.

Punchy and confronting, with another terrific turn from Seimetz.

Worse than Scary Movies 1 through 3… And they were terrible.

The Wild roars back from a rocky opening act to a storming last reel, just managing to claw its way above comparisons with "Madagascar."

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

A small, strangely sweet tale well told. But this is all about Mol, who puts in a performance that gives her a very early lead on next year's Oscar race.

A dreamy but tough ensemble indie that delivers its existential angst with a straight-up Aussie drawl.

A documentary that preaches to the converted if ever there was one, but Dunn's enthusiasm for the subject and the range of pretension and humour of his interviewees makes for fun viewing.

A compelling study of a small-town lawyer's determination to challenge Cameroon's institutionalised chauvinism, which judiciously combines small triumphs with a daunting sense of the task that lies ahead.

An unfunny, unfocused sub-SNL baseball comedy that makes the likes of Joe Dirt and Deuce Bigalow seem vintage.

There are some decent performances from the motley crew of students, and Banderas does well despite an underwritten role. But the breakout star here is the dance.

While this doesn't add up to much more than 'It's good to be rich and have friends', it's entertaining, with some choice performances and the laugh-out-loud quotient of a good sketch show.

It's charming enough.

Undeniably funny and gooey to boot, Slither may not be groundbreaking but it is a rarity: a horror-comedy that does both its genre-parents proud.

With a superb lead turn by rising star Joseph Gordon-Levitt, Rian Johnson’s debut is a smart, original neo-noir that works as an ingenious mindgame as well as a slick Hollywood calling card.

Occasionally slides into a breathless fan tribute, but nonetheless an affectionate and candid portrait of a troubled artist.

It's certainly a Spike Lee film, but no Spike Lee Joint. Still, he's delivered a pacy, vigorous and frequently masterful take on a well-worn genre.

A cool idea rapidly falls apart. A completely missed opportunity.

The highschool hijinks may entertain the young, but those more familiar with the Bard will recognise this as a wasted opportunity.

Setting out more to challenge us with its ideas than make us whoop at the action, Vendetta can be clumsy, but there are enough impressive flourishes to make up for its stumblings.

A laudably amoral and superbly caustic comedy for those who like their satire strong and unfiltered.

Superb supporting performances from Polley and Baulk go some way to making up for our hero's lesser qualities.

Fans of the original won't be disappointed, but ultimately it's just another decent, arguably unnecessary, '70s horror remake.

A curiously resistable drama, despite several strong elements - the most notable being newcomer Idina Menzel.

A solid, bare-knuckle action-thriller.

This fantasy comedy should entertain its pre-teen female market – and repel those silly superficial boys (swoon).

What gives the film its layers is the refusal to cut straight to the music.

Unengaging, uninspired and unwatchable. A criminal waste of time and talent.

Hood handles his material so deftly that a conclusion which could have been mawkish and sentimental is instead bittersweet, both painful and quietly affirming.

Strong performances and meticulous direction make this consistently disconcerting, but the subplot distracts from the moving human drama.

Even if Rupert Murray's film does turn out to be a hoax, there's no denying the ingenuity involved in its making.

A lowest common denominator spoof.

The dogs, whose individual personalities shine through without recourse to crass anthropomorphism, are superstars.

A prime example of what works in a book not working in a film.

This is a clever premise stretched perhaps a little too far.

Solely made for tiny tots, this may test the patience of supervising adults, but delight smaller viewers who will doubtless fall in love with George and want him for their very own.

Sequelcraft 101 – if you liked the others, this is more of the same. Extra points for using a nailgun on pigeons.

Covers disappointingly predictable territory for an actor of Ford's skills and reputation.

With a better story, director and support cast, Martin could have made Clouseau his own. Still, it's not as bad as the one with Roberto Benigni.

'Highbrow' might be the best way to sum it all up. Interesting and stimulating, if not always successful.

Shows the famed songwriter's performance and work off with reverance, and a faithfullness to the live experience.

Abrasive but affecting.

It might be lesser known, but certainly not deservingly so. This is a cracking piece of Brit cinema.

Loud, noisy, flashy but too rarely chilling.

Bottom-rung dreck.

Parker has a sensitive approach to the crise d'amour, but his lacklustre leading ladies contribute to an uneven tone.

Unstintingly raw and cynical, this disconcerting and deeply affecting State Of The Union treatise regularly comes dangerously close to caricature.

A successful mix of literary adaptation, meta-fictional discourse and inside-showbiz comedy. Both funny and clever.

But for all her slinky, undead-chic looks, Beckinsale can't carry the film on curves alone and there's not much else here worthy of attention. Evolution's action sequences are as horribly bungled as its plot, resulting in a string of repetitive confrontations that feel toothless even by the last movie’s standards.