Like all Meyers’ films, it’s more about interior design porn than real human emotions and drags on for far too long. Still, Streep, Krasinski and Baldwin are so good, they almost make it work. Almost.

Directed and played with terrific verve, this moves so fast from one special effects set-piece to the next that there's no time at all to reflect on the basic ridiculousness of its Chinese box of a plot.

A lengthy, visually impressive period piece with little in the way of new material or fresh spins on history to distinguish it.

Unsurprisingly, HAVOC is at its best when we’re plunged into wall-to-wall carnage. It may not be for the faint-hearted, but this fist-flinging fever-dream sees Evans back near the top of his game.

Cahill's second feature film is another smart, inventive and engaging offering.

Occasionally fun, always pretty, completely a mess, Casanova never quite finds its footing.

Buoyed by riveting lead performances, and driven by a compelling real-life story, this is proof that Phillips can handle grown-up material. All without a naked Ken Jeong.

Though overstretched and a trifle ponderous, this is a solidly acceptable star vehicle with more than enough righteous vengeance for an evening of classy thrills.

In stripping Jack Ryan back to basics it’s lost some sophistication, but reinvigorated an action hero who’s unlike any other on offer and who absolutely earns his second — or rather fourth — shot.

A fun, action-packed reintroduction to Conan Doyle's classic characters. Part Two should provide more in the way of scope.

Immaculate has the look of something as lightly spooky as the Nun films, but is prepared to go a lot further — abetted by a committed lead performance — than your average haunted convent picture.

Great songs, gentle humour and a dose of syrup which is not to everyone's tastes, but worth buying to keep that Christmas spirit going until next year.

An amazing tru-life story that's Hollywoodised within an inch of its life. A missed opportunity for something really special.

Funny and scary, this is vintage Polanski.

Fans of the Say Anything/ Running On Empty school of drama could do a lot worse that give this one a go.

Brilliantly terrible or terribly terrible depending on your viewpoint.

Not quite as smart as it wants to be, and a better action movie than it is a political thriller, this is still a heart-pounding drama.

Powered by the charisma and physicality of its star, this often gruelling action flick does more than enough to suggest that Hemsworth has found his genre, once he hangs up a certain hammer.

Barry Jenkins’ verve only faintly shines through in an origin story that is mildly, not wildly, entertaining.

Despite an inherently cinematic story and some effective sequences, Escape From Pretoria struggles to transcend a clunky, one-dimensional script.

Like the Minions, this instalment is barely distinguishable from any of the others, but it’s easy to be won over by its nutty joy and enthusiasm.

Witty, sharp and charming, this romantic comedy is exactly what's needed when Channel 4 aren't showing repeats of Friends. All three are equally watch able, each with their own reason for renting the apartment and each very different.

The odd conclusion renders it somewhat oblique, but Perfume is a feast for the senses.

A wasted effort with a limp storyline that fails to do Michael Crichton's book justice.

A sub-Hitchcockian thriller with enough forward momentum to thunder over its many plot holes, The Commuter is a surprisingly enjoyable if instantly forgettable crowd-pleaser that takes the audience for a ride — in more ways than one.

A vital, if slight, study of selfishness and fractured relationships, Leaving is illuminated by the odd, off-balancing twist.

Okay, it may not be Shakespeare, but it's a welcome bonus, for neither Chow or Wahlberg looks out of place in crossfire that would likely leave trained military personnel shell-shocked.

A fair-to-middling auto-noir with a hole in the middle roughly the size of its leading man’s head.

Mamoru Hosoda’s continuing experiments with animation are passable enough. But it’s not enough to uplift this loose adaptation of a literary classic with its rather clumsy thesis on cycles of violence. 

An ingenious, wildly stylish new take on the body-swap movie, this deserves to be a Gen-Z cult classic. 

It doesn’t hit the heights of Raw and Titane, but strong performances and the moving familial drama mean Julia Ducournau’s third feature is still an impactful watch.

Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved.

Hampered by a script that fails to make the central love affair work and few new ideas while they’re stranded at sea, even the best efforts of its talented lead pair can’t keep this afloat.

Not a Farrelly brothers classic, and (some testicle-washing aside) not much in the way of their trademark gross-out humour, but the boys from Boston do an admirable job of transferring Hornby's story into the States and onto the baseball diamond.

A low gag rate, irritating unlikeable characters and mean-spirited moments sap the joy out of a sweet true story. Looking for a freewheeling feel-good summer comedy? Tag’s not ‘it’.

Unashamedly sentimental, but all the better for it.

It’s always nice to see Illumination outside of its Minions comfort zone, but Migration is mostly generic. A bit of a flightless bird.

A load of kids singing Beatles tunes? You better believe it.

Director Sullivan lingers too long in every photogenic location and drags out every incident as if he's making six episodes of a not very sparkling serial.

The Two Jakes is well-acted and looks fabulous, cinematographer Vilmos Zsigmond paints it eerily bright and shiny.

While the morality of D-Fens methods are questionable, there's a resonance about his reaction to everyday annoyances, and Michael Douglas' hypnotic performance makes it memorable.

It’s a conversation starter: a cultish exploration of female sexuality in a culture dominated by prostitution and patriarchy.

A gripping modern morality tale with a credible cast and a compelling premise. The film is heavy on self examination and will make you think: what would you do?

Far from a puff piece, a no-holds-barred, melancholy, often surprising examination of Norway’s most famous — and underrated — musical export. A must for fans — but prepare to brace.

It's not as poetic as My Darling Clementine or as historically accurate as Sturges' sequel-remake, Hour Of The Gun, but it is a wonderful evocation of the brassy Westerns of the 50s, when Burt and Kirk demonstrated more machismo than a whole posse of Arnies or Slys.

Another all-kicking, punching, shooting and exploding dose of Besson born action, and Jason Statham proves that his action mettle in the first instalment was no fluke.

Very funny underdog comedy that’s genuinely heartwarming and full of charm.

Part road trip, part revenge movie, this is a tentative tale of a man who's not going to take it anymore, sharp on the fallibility of human foibles and sometimes stingingly funny, too.

It's a rare film that can simultaneously crack you up and send a chill down your spine. Worth seeing -- even for believers.

Good performances, but If you're looking for an uplifting tale of hope against despair, look elsewhere.

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.

A familiar tale of a quirky childhood is delivered with little in the way of freshness or truth. Still, the performances by Larson, Harrelson and Watts rescue it.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Slightly better than its predecessors, Sonic The Hedgehog 3 works hard to entertain — it has the odd bright moment — but overall lacks surprise, freshness or anything to set the heart racing. It’s a Saturday-morning cartoon writ long.

Surprisingly watchable for the third sequel and despite its general predictability it's entertainingly inventive.

A very superficial look at what it may be like trying to romance someone on the autistic scale.

A grand folly, but lots to love.

The vital story of a singular trailblazer is brought to life with surprising ambition and a committed Rosamund Pike, but such inventive methods confuse the crux of Marie Curie’s intelligence, with alienating storytelling rendering her humanity impenetrable.

Thanks to Rushdie's sensitive handling of his own material, this is an adaptation big in both ideas and heart.

A decent, well-cast and mounted adaptation that hits all the right notes but plays them in a respectful, muted monotone.

While [Penn] has all the heavyweight America-gone-sour themes and confused characters found in roadside movies like Five Easy Pieces, Electra Glide In Blue or Thieves Like Us, he misses the eccentric and exciting spikiness that made them more than just gloomfests.

Its wackier moments sometimes feel like they have more bark than bite, but as an uncommonly honest and authentic depiction of motherhood, Nightbitch will come as sharp relief to mums everywhere.

Okay, it isn't the graphic novel, but Zack Snyder clearly gives a toss, creating a smart, stylish, decent adaptation, if low on accessibility for the non-convert.

It's not the plot that disappoints, it's the poor dialogue between action sequences. Sadly another film to file under not as good as the book.

There’s little interest in probing characterisation, but the plot progress is steady and the performances likeable.

Despite a few early narrative bumps, it’s hard to imagine what more you could want from a movie with this pairing. Marvel has found its mojo again.

All three leads are genuinely appealing here, with Ryder once again acting her bobby sox off and giving yet further reminder of just how sorely she was missed in Godfather III.

A hanging-out movie that’s as close as you’ll ever get to soaking up the time, the place and the attitude. Too slack for mainstream audiences, though.

Fun, funny and affectionate, though it packs the emotional wallop of an undernourished high school nerd.

This is maximum-gloss entertainment with its fair share of tricksy rug-pulls. But, like one of the neon-coloured cocktails Smith drinks in it, it’s more of an immediate rush than something you’ll remember in a year.

A beautifully designed but overly formal biopic that can't match the greatness of the artists it depicts.

An occasionally interesting but over-stretched attempt to recount Putin’s rise to power, best appreciated for the few moments in which Jude Law appears.

On paper it looks like a gem – roaring 20s setting, verbal fireworks and a silly sport in its rude infancy. In practice, it's way off the pace, far too slow for its screwball pretensions and the kind of film that confuses pastiche with period detail.

An engaging, if familiar, mix of teen rites of passage, the fun of friendship and mooning over a cool girl. Still, Nat Wolff and Cara Delevingne make for a watchable duo.

Having taken such pains to establish Tom’s Finnish background and its attendant dangers, Karukoski hurtles through the sketchy American section without exploring any of its crucial issues in sufficient depth.

This is just as unevenly plotted as the original, lacks even the element of surprise, and is not by any reasonable standard “good”. Between gooey and ghoulish, there must be better options.

Writer-director Gerard Johnson and chameleon-like star Ferdinando continue to impress with their strong collaboration here.

Captures the brash boldness of the novel, but not the literary wit. A misguided affair.

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

It's part satire of the drug-fuelled clubbing scene, part harrowing disability drama -- and almost entirely improvised.

Enjoyable nonsense with a superb enemble cast. Pure entertainment.

Non-Stop is weak sauce, a cheapie snoozer that not even heavyweights like Neeson and Moore can save.

Midnight is a mildly engaging hotchpotch of disparate ideas - courtroom drama, small town expos and witchcraft-infected magicking - but a far cry from Eastwood's best.

Despite a fun voice cast, this is a lazy effort that squanders its characters, and will likely bore anyone over the age of ten.

Perhaps it’s fitting that this story about babies has the attention span and grasp of logic of a newborn.

A film more concerned with 'how' than 'why' or 'who', Valkyrie would have benefited from more scrutiny and complexity. Still, once the bomb goes off, the thrills come in spades.

As furiously funny as it is helplessly horny, this lesbian road movie simultaneously feels exactly like a Coen brothers film — and entirely its own thing, too.

French Exit boasts an assured cast but drab direction and lazy writing ensure the characters are never as eccentric, cutting or interesting as the film’s tinkling score would have you believe.

Though the sketchy narrative could do with a bit of filling out, and the settings could be less gloomy, this is a memorable interpretation that benefits enormously from sound casting decisions.

Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.

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

A slicky edited, white knuckle ride to the depths of depravity.

Cavill and Hammer are made for each other, but the film can’t always find the pyrotechnics to match their chemistry.

It wants to be a modern "Taxi Driver"; it manages to be the new Falling Down, with Foster as fierce as ever.

Farty, burpy, fall-y over fun tied to a pretty inconsequential plot. Your kids will explode with joy.

As with Platoon, Stone captures the horrific essence of an environment and transfers it to us without the need for prior knowledge. Dazzling filmmaking.

Rocky with robots? It's not quite in Balboa's weight class, but Real Steel at least has some heft. There's barely a story beat among the beat-downs that you won't expect, and sometimes the saccharine gets in the way of the spectacle, but on the whole this is enjoyable family entertainment.

A fitting tribute to Hunter and the demise of the American Dream, but first and foremost a thrilling and funny snapshot of a country on its knees and a writer finding his feet.