Conventional to an almost eye-watering degree, this could have used a little more effort to subvert the genre - and a little more Terence Stamp.

What director Lehmann has made is essentially a multi-million dollar cult movie with great effects, a witty script and some good performances, but although some of the eccentric (and occasionally slapstick) humour may not appeal to a mass audience, it is certainly one of the more original blockbusters coming out this summer.

This spectacular adventure sometimes wanders across the borders of invention into artificiality, but finds its feet when it focuses in on its characters and their relationships.

The father and son chemistry give this blackly-comic slice of social realism a dose of Ealing-lite wit.

A largely painless viewing experience — but it could have been far more pleasurable.

A quirky road-trip movie with things to say. A return to form for Depardieu too.

Anne Hathaway delivers another likeable performance in a tweenie treat that has enough smarts to keep older viewers engaged, too.

Some of the tension drains from a slow middle act, but it remains a gripping tale of sleuth-work and moral awakening.

Predictable and pleasant, with enjoyable performances.

A satisfaction conclusion to the trilogy.

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.

Alex Garland once again shows an unmatched ability to conjure a beautifully uneasy atmosphere, the sense of which lingers on past the closing credits — but the substance underneath doesn’t quite connect.

Gas Food Lodging's poster sums up everything the movie isn't about. In a woeful effort to put a sexy spin on proceedings, lone Skye and Fairuza Balk stare out with dodgy come-hither pouts, and the tag line ("When Shade's good she's very good, but when Trudi's bad, she's better") succeeds, with just a dozen words, to undermine the integrity of the whole damn shooting match.

An interesting new take on a very well-known tale and a praiseworthy act of revisionism, but one which doesn’t ultimately deliver on its early promise.

Joshua Oppenheimer’s uncompromising, apocalyptic odyssey thoughtfully unpacks the stories people tell themselves to survive — but don’t expect to be tapping your feet to its collection of lacklustre songs.

Jaa’s period ‘beatquel’ is thick on action but thin on plot. Awesome final fight, though.

It's loud, it's stupid, yet against all the odds, enjoyable.

Very 'talky', but the three lead females are excellent, as are the costumes and sets.

Freundlich's intelligent, very funny take on male-female relationships manages the not inconsiderable feat of being both jaded and appealingly fresh.

Never scratching below the surface "facts" of the story, this is too thin and unsophisticated to truly compel.

Amusing and imaginative and, of course, beautifully animated, this movie has all the superficial hallmarks of a great Disney picture.

There’s terrific chemistry between the leads, but an episodic structure set over 20 years is too sprawling to really allow for a connection.

This tale of Mexican poverty refuses to lapse into sensation or melodrama.

Echoes of "Waiting To Exhale" are obvious, but this is a more smiley affair altogether, with perhaps a spoonful too much sugar stirred in at times, and emotional development often mixed from the most basic of recipes.

A very thin story stretched out for over two hours, this is a melange of the wonderful and the pompous.

Not as strong as the original, Rams is perhaps best described as a feature-length version of one of Sam Neill’s social media shorts; funny, a little bit rambling, winning.

It’s instilled with the bite and bark of Bilko’s capitalist fervour, and has a fun line in cool, snappy dialogue, although never intending to be quite so broadly a comedy.

The third part of Berg’s unofficial Americans-in-crisis trilogy will play better for US audiences than overseas, but it’s still a pacy and often enthralling disaster movie.

The film’s glowing, golden cinematography suggests a far warmer story than it in fact delivers, but Winslet’s stunning turn is worth a look if you can stand the consciously stagey feel.

Arnie's toe-dip back into the action-cinema pool is a daft bit of fluff rather than a bruising mission statement. Get through the plot and you'll be rewarded with 30 minutes of whirligig mayhem.

Important, but it echoes a better film - The Texas Chainsaw Massacre.

The muddled mix of documentary rawness and fable-like naiveté prevents it from fulfilling its parable pretensions.

While its tone occasionally wavers and there are some wobbly performances, this has moments of true lightness, and a welcome sense of whimsy often missing in the costume genre.

Swank’s moving performance, the period dressing and beautiful planes all appeal, but dramatically it doesn’t really soar.

Despite its glaring obviousness, this is charming enough to captivate the viewer, producing unexpectedly strong female characters and faultless attention to detail.

Braveheart in a new kilt. Not exactly original, then, but worth a look.

Interesting for it's historical notoriety, but overlong and dull in places.

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. 

We've seen all these stunts pulled before, and seen them done better, but there's some pleasure to be had here — even if it's of the extremely guilty kind.

A small but perfectly formed crime drama. And, without making a fuss, a proper nail-biter, too.

This is everything you might expect of a Baz Luhrmann biopic. It’s brash, loud, maximalist, and certainly never boring, but also keeps its subject at a distance, enthralled by his glamour not his soul.

Triple Frontier is engaging in parts with well-mounted action. But the characters lack definition and you can’t help but think an old timer like Howard Hawks or Sam Fuller might have done it better in half the time.

Claire Denis' drama is an overly fastidious but insight-filled look at post-colonial Africa.

Sounds rather soapy and melodramatic, but director Susanne Bier, assisted by an able cast, ensures the traumas are painfully realistic and subtly observed.

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

A curiously compulsive drama that for all its inevitable Dead Sailors’ Society trappings is still highly entertaining.

Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.

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.

Killer Of Killers looks the business and comes with all the gory kills and human heroes you’d hope for, but like most anthologies it is a little hit-and-miss.

This grungy anti-musical will offend just about everyone with its attitude towards women, gays, kids, and the elderly.

Now practically an exile from his homeland, Kiarostami follows Certified Copy with another film-literate relationship drama with the enigmatic overtones of Hitchcock.

However, thanks to engaging performances and a sharp script, this movie - essentially a series of three-minute sketches filling 101 minutes could be just the right choice for that Saturday night date, while Wayne-speak will no doubt be quoted and become part of the English language.

Effective melodrama with some satisfying emotional confrontations, particularly from Lana Turner.

Entertaining and ambitious horror hokum, slightly tarnished by a disappointingly obvious "shock" ending.

There was much to dread about this new iteration of Dredd, but it's a solid, occasionally excellent take on the character, with Urban's chin particularly impressive.

Weird, but kind of cool.

Despite the schmaltz this reviewer lapped it up, not least for the engaging teens, including Alicia Witt, and the spectacle of Dreyfuss strutting his wily stuff to Louie, Louie.

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.

The tension revs along nicely and - if you're not heisted out already - there's some suspense to be had.

An odd but frothily entertaining genre cocktail, which coasts on the charisma of its two biggest names and keeps things just fun enough to forgive its considerable lapses in narrative.

The Godfather II of manwhore sequels, this improves upon the original in every way. Especially if you're drunk.

Despite an imposing performance by Renée Zellweger, Judy never exposes the dark heart of Garland’s last years, creating an enjoyable backstage drama movie while failing to get under its protagonist’s skin.

A fast-paced and hectic kitchen thriller that, though it tries to spin a few too many plates, pulls you deep into a fascinating, detailed world most of us know little about.

Excellent performances from the cast elevate this otherwise slightly flawed a hokey interloper story.

A high-altitude horror – think a Bram Stoker reworking of *The Shining* or Shutter Highland – of real craft. Ultimately, though, the plot turns out to be thinner than the air.

May be contrived and overlong, but it is also technically distinctive and utterly compelling in its analysis of Swedish attitudes towards race.

It takes a while to get going and never outstrips its theatrical origins but gets by on great actors working through meaty scenes. See it for Streep vs Redford alone.

Crude, patronising and mawkish, but rescued by excellent performances, beautiful landscape photography, and hard-to-argue-with themes of natural justice, delivered with a punch.

Lost Transmissions is a clear-eyed view of schizophrenia, aided by a powerful Simon Pegg performance yet hamstrung by some woolly filmmaking and a whiff of pretension.

Don't expect the puppet to wisecrack - there's more pain here than in "The Passion Of The Christ." It never quite comes together in a satisfying way, but it's still a brave, strange, brain-stirring piece of filmmaking.

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

A romance not nearly as seductive as its lead actress.

Hard to call something this gratuitous entertainment but certainly lingers in the memory, thanks mainly to the bombast of Stone's script.

Part two of Ulrich Seidl’s Paradise trilogy is a stark, morally complex study of blind belief, lightened by black laughs and Seidl’s static, deadpan compositions.

The set pieces make this well worth watching while director Goro Miyazaki shows he's truly his father's son.

Complemented by its black-and-white photography and a moody DJ Shadow score, this is a gritty yet often tender look at society's margins.

Thoughtful trial movie with a disturbing edge.

It's a result so painfully logical it would make Lynch's hair stand on end.

Well-served by a laudably authentic ensemble, the director explores both character and ethnicity with a canny wit.

A worthy addition to the canon of Iraq war films, The Messenger has a gentle humanity that creeps under your skin. Look out for a terrific Harrelson turn, too.

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

A promising debut that stumbles in its final act, but its pseudo-documentary and found-footage sequences make Shelby Oaks a suitably creepy calling card.

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.

Wolfs has all the practised professionalism of its two anti-heroes, if not quite their spark. But there are few movie stars as straightforwardly enjoyable to watch as Clooney and Pitt.

Delightful, but bum-numbingly slow.

Okay, so it’s Cujo with a chimp and a pool instead of a dog and a car – but Primate delivers good, gruesome business and has a sense of fun. Solid horror hokum.

Eastwood’s message that no good deed goes unpunished feels misplaced, but for the crash sequences and Hanks’ turn it’s worthwhile. But for goodness’ sake, don’t watch it on a plane.

Round two’s double-or-nothing approach means there are fewer surprises this time around. Yet as Weaving’s endlessly watchable bride gets even bloodier, it’s hard not to crack a smile at the relentless fun.

Don't let the 'Quentin Tarantino Presents' tag deceive you, this is a mixed bag of lumpen dialogue and martial-arts magic that never quite coalesces into the delirious mayhem we'd hoped for.

The plot pieces might slot into place with a resounding clang, but what it lacks in finesse, this brutal actioner more than makes up for in bullish bravura and technical slickness.

A life story packed with incident means that this sometimes rushes past events that would be formative for anyone else, but equally means that Lamarr’s life story is never, ever dull.

Proof that you can make good movies based on video games, as long as you don't bother making a video game first. Juice us up for Crank 3D.

Asking questions of moral beliefs and societal responsibility, a plausible dilemma is framed like a fairytale. While the storytelling is neat, aesthetic quirks that entertain also remove any potential urgency.

Big, dumb and only mostly fun, this doesn’t always find the right tone to marry action and charm, but Johnson’s remote and ruthless superhero is a welcome change from the norm.

While lacking the richness of its source material, it remains an enjoyable, immoral and sometimes beautifully Gothic tale.

Like a Gallic "Nine To Five," Ozon's comedy is a uniquely French skew on the gender politics of the home and the workplace. It's mostly funny, fast and fondly made although it drags a little towards the end.

A lot more entertaining and irreverent than the film’s grandiose subtitle, “Courting A Legend”, suggests — even if it’s hardly as trailblazing as the man to whom it pays tribute.

Jarmusch leaves us with a highly entertaining and thoroughly oddball collage celebrating the typically inconsequential nature of most daily encounters.