Solid, mature and finely acted, but intermittently daft.

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

Despite superb performances by Kathy Bates and Jennifer Jason Leigh, a limp, almost TV movie trite, climax never comes near delivering the shocks it should. A shame, as what could have been superb, is merely average.

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.

It's hard not to be seduced by this folky yarn.

Despite moody flashbacks to the Nazi takeover, Hirschbiegel draws a blank. Elser remains an enigma, a great what-if whose German torturers cannot comprehend acted alone.

A farcical romp but, being French, it's hugely glamorous and dripping with style.

An otherwise fine sports fantasy is dragged down by an overindulgence in sentimentality.

While it’s a woefully incomplete middle chapter, at least it’s never boring.

Missing the punchy plotting of the Coens thriller it resembles, the early chuckles don't quite translate into a satisfying whole.

An often effective reboot, this does everything you’d expect, but that’s a real shame.

More unsubtly crowd-pleasing, Burnley-based ebullience, which gets by on its unimpeachably virtuous message — and a gloriously garrulous performance from the always-reliable Rory Kinnear.

The interesting world of the film doesn’t get the story it deserves.

No film that includes a Vin Diesel flying headbutt could remotely be called a write-off, and Furious 6, like its predecessors, is a big screen no-brainer that’s objectively terrible but undeniably pleasurable. A reversal from Fast 5, it’s still a gear above all the other sequels. And an end-credits teaser promises much for the future.

A film about violent racism that is just too ambivalent in its treatment of the perpetrators to be anything but an uncomfortable watch. Some good performances, but leaves a bad taste.

Certainly not your standard music flick, Ebony & Ivory is challenging, abrasive and utterly, utterly odd. But if you’re on Jim Hosking’s weirdo wavelength, it’s a demented delight.

A fascinating and visually impressive intellectual helter-skelter ride, but the lack of narrative coherence lets down its promising sci-fi concepts and satire.

It may share a narrator with "March Of The Penguins" but this short documentary is happily more sturdily scientific.

Sometimes the storytelling can feel like a stretch, but this is mostly a lively, well-told account of a bizarre toy craze gone wrong, and the big personalities behind it.

More Sunday afternoon filler than cinema sensation, it’s a perfectly pleasant drama, but you’ll struggle to remember it the next day.

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

Not as funny as you’d hope – and yet the emotional character work pays off, right down to a sweet epilogue. Romcom fans should attend.

It’s funnier this time, but still veers noticeably from kid-friendly slapstick to adult-friendly banter.

Perhaps the best Hitchcock film Hitchcock never made.

This slight, modestly sweet and mildly charming affair squarely aimed at the older cinemagoer is just the bill for those seniors’ matinées where the ticket comes with a cuppa and a biscuit.

Graced with fine performances and commendably biting off more than it can ever hope to chew, The Prince Of Tides is a rare slice of romantic moviemaking for all those grown-ups feeling ignored since Kramer Vs. Kramer last rattled their value systems. Best to take along your mother, a large box of hankies, and a hefty dose of salt.

A step back from the last film in terms of ambition, this nevertheless continues the series’ chirpy, amiable mood. Nothing to be po-faced about here.

Lawther’s a charismatic, uncompromising lead, and Billy’s campaign is an inspiring one, but this sometimes settles for broad strokes of heroism or villainy where more subtlety would have increased its impact.

This has charm and glamour but little profundity.

Super sexy, silly Meyer fun where he takes his own self-styled genre to its heights/depths.

Just the right recipe for a seasonal horror cocktail — gruesome kills, proper suspense, sly wit, likeable leads and a dose of just deserts for very, very bad boys and girls.

A solid, child-friendly work which will keep little ones content, if not mesmerised.

Reinforcing the very rom-com tropes it's sending up, this is a little too postmodern for its own good. Happily, Poehler and Rudd are as irresistible as ever.

Sequel manages to retain some pathos and credibility.

Determinedly quirky and cool, arresting and ultimately too baffling to be satisfying, although Penn is priceless. Cultdom beckons.

King Kong lives! But only just. This is an uneven adventure that’s saved by the spectacle of its towering title character and the various beasts with whom he shares his island home.

The action is well-shot, and the buddy dynamic is fun. There’s plenty here that’s familiar, but it’s actually not a terrible way to spend a couple of hours with your Familiar.

Flawed but very original.

Though the film looks dated it contains great use of English countryside and a couple of genuine chills.

Beautiful to look at but lacking a strong point.

This film falls down in it's attempts to do everything at once, so that a potentially horrific scenario is often played out to comic effect. It doesn't quite work and the film manages to undermine itself.

Despite feeling narratively let off the leash, Last Exit retains the passion of the novel, as well as the switch-blade characterisation.

Essentially a Split sequel with an Unbreakable topping, this is weaker than either of those films but still has a decent amount of entertaining and creepy sequences, most of them due to McAvoy’s high-commitment performance.

Like a lot of remakes, Downhill doesn’t quite make the argument for its existence. But career-topping performances from Ferrell and Louis-Dreyfus and an unusually frosty comedic tone make this a mostly rewarding day on the slopes.

Given such a cloying and utterly predictable plot, it's surprising that Three Fugitives works as well as it does. Nolte, all big shoulders and bashfulness shows a pleasant self-deprecating talent and copes very well with the array of humiliations ranged against him.

It’s an enjoyable, super-faithful cover version but Laal Singh Chaddha is like a box of chocolates: you know exactly what you’re gonna get.

An amusing scenario gets a big boost from winning performances all round -- which lift it well above other bride vs. buddy 'triangle' japes like, say, "You, Me And Dupree."

Fennell’s second feature is both evocative and provocative, with lashings of style but questionable substance. It doesn’t stick the landing, but the ride right before the nosedive is a properly enjoyable one.

This unholy concoction of ideas is unlikely to become a seasonal staple, but sift through the nonsense and there’s a surprising amount to enjoy in this bonkers Noel nightmare.

It was always going to be hit-and-miss, but Homemade flits between creativity and indulgence in documenting the current crisis. If you want to cherry-pick, Larraín, Lello, Nyoni and Sorrentino’s efforts are top of the class.

Though short on shocks and mild in horror terms, Fresnadillo's fantasy has a lot of heart and sincerity in equal measure.

Eschewing the linear approach, this erratic documentary occasionally drifts a little too close to self-indulgence. But it’s also a frank, funny and disarmingly deep portrait of a true screen legend.

The plot is predictable and the look unmemorable, but Johansson has nevertheless crafted a pleasingly old-fashioned character piece with just enough bite to balance its emotion.

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

An entertaining romp through familiar cop-and-crim cat-and-mousery, bolstered by strong star turns from Washington and Crowe. Still, it has neither the intelligence nor the grip to jump from the merely good to the truly great.

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

Despite its hopeless predictability, this is one of those preposterous and sweet-natured family frolics that you find yourself enjoying in spite of yourself. Check your critical faculties in at the door and get stuck in.

A challenging and intelligent Swedish drama that still raises laughs.

This better-than-the-book adaptation casts quite a spell.

Jeunet himself describes the film best: Delicatessen meets Amélie. But we'd add that, while it's certainly breezy fun, it's not quite as good as either.

Once you get past the ridiculous story this is a fine example of De Palma's lush overkill style and certainly has a redeeming thread of silly sick humour.

It still feels old-fashioned rather than timeless and even on its family entertainment terms, it just doesn’t quicken the pulse-rate.

Driven by a boss Jeremy Allen White performance, Scott Cooper’s Bruce Springsteen biopic — just like its subject — finds its true voice once it stops trying to play the hits.

Interesting father-and-son dynamic, though not particularly memorable in the long-term.

An uneven but essentially likeable story about the joys of setting yourself improbable goals and the tribes you can find as a result, with a strong, committed performance from Bell at its heart.

This is silly and sentimental, but it’s also basically well-meaning and inoffensive. Best watched after quite a few grappas, or with your sprightly grandmother.

Tedious Western, that's a disappointment given the talent involved.

A bizarrely strait-laced project for Todd Haynes, Dark Waters lacks dramatic oomph but compensates via a well-mounted telling of a terrifying story, driven by still contemporary concerns and a convincing central turn by Mark Ruffalo.

The action is sharp and imaginative, and Jordan strongly establishes his action-flick credentials. But story-wise it’s all very familiar and more than a little dour.

An uneven study of a notorious love story, raised by some superb performances and nuances, but brought down by awkward direction.

Despite a top-notch cast performing well, and bravely in the case of Knightley, this is an austere, somewhat repressed movie. It never really gets under the skin in the way Cronenberg does at his best.

A few too-broad gags aside — and even these are in the funky spirit of ’60s Marvel — this is a satisfying second issue with thrills, heartbreak, gasps, and a perfectly judged slingshot ending.

Though its themes are overly familiar, this is a fun and charming introduction for newbies to the Addams Family. Once again, it’s cool to be weird.

Cringe-making fun for survivors of the '70s. For the younger majority: a familiar rise and fall of sex, drugs and rock 'n' roll enlivened by the gender reversal and performances.

Lacking the boldness of originality and substantial character development, The Artist’s Wife nonetheless showcases Olin’s best performance in years and a brittle brilliance from Dern.

A well acted but unfocused study of one of the 20th century's most colourful characters.

In a concrete Russian military facility, no-one can hear you scream. Sputnik offers obvious time-honoured sci-fi/horror shenanigans with a few fun tweaks to the formula.

It sets some sort of record for use of the expressions "nigga" and "muthafucka".

Making no secret of the fact that he has "freely adapted" the novel, writer Jean-Claude Carriere and Milos "Amadeus" Forman have come up with a visually mouthwatering epic treatment: beautiful, opulent, sumptuous.

There are some roles Julia Roberts was born to play -- a tart with a heart, say, or a likeable and famous actor -- but a charismatic, inspiring 1950s teacher is not one of them.

Better than Last Stand or Apocalypse but never hitting the heights of X2, Dark Phoenix thrives when its heroes are front and centre. If this is the end, it’s a solid rather than spectacular goodbye.

Project Power has considerable style yet a disappointing lack of substance — but an attention-grabbing performance from Dominique Fishback and an intriguing twist on superpowers give it just enough juice.

Enjoyable nonsense with a superb enemble cast. Pure entertainment.

It’s not as effective as Mandy or The Mist, both of which it evokes at points. But Color Out Of Space is still an audacious and admirably out-there attempt at cosmic horror.

C'mon, it's Fred and Bing! Depending on your disposition, you can take that as a recommendation or a warning.

There’s a good-hearted father and son tale at the heart of the madness here, but the surroundings are sometimes a little too silly for true greatness.

Jacki Weaver is excellent in this colourful culture-clash comedy which, despite an uneven tone, offers a welcome message about the power of love and acceptance.

But for the most part, what you have here is a topnotch filmmaker getting back to basics and really delivering the goods.

A nice twist on the usual small-town-hides-sinister-secret setup, this offers some genuine scares and impressive gore.

A patchwork of a movie that ultimately knows where it's going, but doesn't really know how to get there.

Half "GoodFellas," half "Dreamgirls," Jersey Boys is an appealing take on a grit-to-glamour biopic. What it ultimately fails to do, though, is convince.

Mothering Sunday just falls short of a great movie; a radical attempt to shake up period-picture staidness, shot through with strong performances, impeccable craft and a strain of sadness, but it’s never enough to tug vigorously at the heartstrings.

An intriguing and compelling documentary that provides insight into Kiefer's artwork.

This Indian immigrant family saga is a pleasant watch, but given the emotive source novel, it’s surprisingly superficial.

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

Some summer anti-programming arrives in the form of a highly talky, at times upsetting prison drama — think Fortress meets Limitless. You can feel the strain of its expansion from novella form, but it’s just about worth a visit.

The animals are cute and Gleeson is extremely game. What keeps Peter from Paddington-style delight is a self-conscious need to distance itself from its source material.

Despite a muddled final act, Monster Hunter is satisfyingly efficient, a quick-fire thrill-ride of creepy thrills, nasty kills, and of course, monster-hunting.