More than just a time-travel rom-com, this is a movie that asks you questions and doesn’t sugar-coat as many of the answers as you’d expect. Smart and sweet, funny and genuinely moving. Should probably come with a ‘there’s something in my eye’ warning.

A full-on action flick, subversive rom-com and weapons-grade star vehicle that’s drenched in Tinseltown glitz, from a director who knows how to put the money on the screen while his tongue’s firmly in his cheek.

A rough, exhausting, exhilarating action picture with a payoff which would have delighted Sam Fuller or Howard Hawks. The Stath - an actual Olympian, remember - is on top form.

Smarter than it sounds and carried by a very funny performance by Foster, this is a kids’ movie that’s bearable for adults too.

This is a film about nothing less than the future of America and the history of mankind. It is brash and bonkers and doesn’t always hang together, but 85-year-old Francis Ford Coppola has rarely been as audacious.

This is an Aquaman film that needs lots more Aquaman and vastly less bombast. It’s visually wild and recklessly inventive, but the cast deserve better than to be cast adrift in a tempest of CGI.

Feeling like a relic from the wave of ’90s crime ensembles that followed in Tarantino’s wake, Arkansas not only squanders some good talent, it’s a tragic waste of a fine book.

For fans, a crowd-surf over Tenacious D’s best bits. For the unbaptised, a novelty movie of a novelty band, big on spirit but in search of a script.

Good fun in places, but dull for the most part, Violent Night is serviceable Christmas viewing. It’s a shame, because with such a fun riff on the Santa story, it should’ve been good for goodness sake!

There's a heartwarming quality that softens the hardcore setting but this does lack an assured, er, hand.

It’s a formula that works and, as crowd-pleasing mainstream Britcom goes, it’s a relatively solid, if flawed, entry into the genre.

A rare grown up thriller, full of interesting bits and a strong turn from Wahlberg. But as a whole Wyatt’s film doesn’t grip as it might.

Some fun intergenerational warfare, clever genre nods and a generally sharp script enliven what could have been a bog-standard slasher movie.

Set to be one of the final entries in what we know as the DCEU, this is also one of the best, a witty and warm buddy comedy that deserves to be more than just a Flash in the pan.

Goofy and easygoing, Starsky & Hutch is not exactly politically correct, but you'd be hard pushed to find a single mean frame.

This plays like a collection of translated, stylised scenes rather than a seamless narrative that arouses one's sympathy with Finn or forbearance for Estella. File under well-meaning failures.

Christophe Honoré goes epic in a tale of interlocking lives that owes a debt to Jacques Demy. It won't be to everyone's taste but it's playful enough to win us over.

It’s often enjoyable, occasionally very funny, and has an energy and verve sorely lacking from Fleischer’s last few films. So, while it’s simply, plainly, not as good as the first movie, Zombieland is no longer the odd one out on Fleischer’s CV.

Always intelligent and thought-provoking, it's a welcome return from Amenábar.

Not as good as The Full Monty or Brassed Off but better than Swimming With Men and Fisherman’s Friends, Military Wives is a familiar, entertaining hymn to the power of people coming together in adversity.

The Fannytastic Four leave us on a poo-flecked, piss-soaked, sun-burned high that more than overcomes its familiar flaws to become a real contender for the year’s funniest film.

A gripping and unheralded story that doesn't quite get the telling it deserves.

Fairly routine western makes a disappointing swansong for Hawks. Still good fun though, if you like this kind of thing.

No Martinis in sight, but this is still an extremely watchable look at a unique naming phenomenon — with surprisingly profound results.

A fresh, funny little romp.

Disappointingly dull given the explosive subject matter, this at least attempts to get a message into the mainstream. An extra star for effort rather than execution.

If you’ve asked yourself why on earth there needs to be a movie about Troll dolls, this doesn’t really provide a strong answer, yet for all its awkwardness and fluff-brained logic, its enthusiasm is infectious.

It's hard to believe that a bunch of scrappy kids would really be scared of a big dog, which leaves the premise of this film floundering. However the kids prove to be plucky enough to give the film some kind of motivation but the direction lacks in humour or excitement.

Odd, but intriguing.

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

Well above the standards of your average romantic comedy, it's funny, sexy and smart. It's just not smart enough to stick to its guns to the end.

The sum of the parts is a cautiously optimistic view of love's power to re-shape lives, propounded with considerable appeal.

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.

Bemused out of the ring and brutal in it, Rocky has always been an uncomfortable hero, and it says something for Stallone's skill as a writer that he's been able to keep him going this long. Given the restrictions of the formula, Rocky V is a fitting — even graceful — way to finally hang up the gloves.

It has charm, comedy and a populist concept, but is structurally weak and too self-consciously multicultural.

A stylish portrayal of a literal power struggle based on truly interesting historical figures and events. But it tries to take in too much in too little time, when all it needed was to centre on Edison and Westinghouse.

Devoted Trekkers will have to see it to keep abreast of the ships’ logs, but Saturday night at the flicks fun-seekers are apt to concur this one only fires on stun.

Three films in, and the Lego franchise remains hugely entertaining — though it could do with being less of a chip off the old block.

From his early days doing stand-up at the age of 15 in Houston, Texas, to his membership of the Texas Outlaws comedy collective, to his supremacy as a brilliant controversist, American tells the story of comedian Bill Hicks' tragically short life through the eyes of those who lived it with him.

The Prom is a loud, proud glitter-ball of a film, and doesn’t pretend to be anything else. It stumbles in the second half and the relentless cheer is a little exhausting, but its energy and wit remains infectious.

The great circle of life has thrown up a gorgeous, star-studded story, but trading feeling for realism means that we lose something of the original film’s excellence.

A sequel that feels less necessary than willed into being, but that doesn’t mean it’s not pleasantly entertaining. There are more fluffy animals than in the first movie, more set-pieces and about the same number of laughs.

A truly unique fantasy, McKean’s screen debut is tangled but promising.

It has its pleasures but after the nuance and emotional hits of Love Is Strange and Little Men, Frankie is a disappointment. Not even la Reine, Isabelle Huppert, can elevate this one.

Essential stuff, even by the big man's considerable standards.

Stylish and gripping at times, this wry very-French gender satire is definitetly entertaining but falls down a little in the third act.

One of the best Amicus anthology movies, this is an enjoyable affair full of affectionate horror homage.

Probably the best Western since "Unforgiven."

It lacks filmmaking fireworks but Liberal Arts is a B+ for Josh Radnor: strong writing, great performances (Olsen is the real deal) and a touching, upbeat tale for the big-brained and big-hearted.

McKellen and Mirren, sharing the screen for the first time, are exquisitely matched in this slight but enjoyable yarn, which is like watching two magnificent vintage cars in a road race, without minding too much who wins.

The Last Samurai is much more fun than a mere history lesson.

This is an old-school exercise in shock and gore, with scary ideas and unblinking splatter.

Never reaching the heights of Malick’s ’70s heyday (what does?), Song To Song represents some kind of return to form following Knight Of Cups. It won’t convert the unconvinced, but it is beautiful, melancholic, audacious and well-played, a refinement rather than reinvention of a singular filmmaker.

It's an impressive performance from Chastain and a fascinating subject, but the film doesn’t delve deep enough into Bakker’s inner life.

Bardo sees director Alejandro González Iñárritu looking at the man in the (hall of) mirrors; the result is visually sensational but sometimes lethally patience-testing.

Leslie Dixon’s script is effective, though sometimes seems stranded between the domestic humour and the big issues being played out. Still, engaging, undemanding stuff.

Unpretentious, unsophisticated and all the better for it.

A meta-satire that doesn't quite come off.

Though a forgettable villain and some uninspiring set-pieces sometimes hinder The Adam Project, Reynolds and Scobell’s cracking performances and the film’s surprising emotional depth make it worth a look.

A bizarre, intriguing combination of political allegory and old-fashioned paranoid horror.

Anyone unfamiliar with or underwhelmed by the music of OutKast will find little in this thin piece of cinematic storytelling. Fans happy to luxuriate in its artistic indulgence, however, will be swept up in the weird, random, fantastic OutKastness of it all.

Not a write-off, but more like a respectful homage than a 2020s update in the manner of Candyman (2021). Perhaps a little disrespect would have been truer to the Clive Barker/Pinhead spirit, which is curiously muted in this outing.

The astonishing true life story of The 33 deserves a better movie than this. Trite above and below ground, it is not suitable for miners. Or anyone else really.

Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

Reasonably gripping.

The word 'icon' is overused but as this charming Muhammad Ali portrait shows, occasionally it's utterly warranted.

Charmless and saddled with disastrous flashbacks, this doesn’t have the street smarts to play its strongest hand. There’s a great film in here struggling to get out, but the definitive London noir still remains unmade.

Roger Moore’s third outing as Bond is undoubtedly his best.

Fans of Maggie Gyllenhaal will be disappointed; fans of Mary Shelley will be disappointed; fans of unhinged cinema will be morbidly intrigued.

A stand-out romantic fantasy and surefire hit of Ghost-ly proportions. But all you cynical and smart-arsed brethren, beware: this is definitely not for you.

Good, gory fun.

George Clooney dazzles and Jeff Bridges shines in a scattershot but often hilarious military farce.

Good intentions, but dull and predictable.

Weightless, but not without its enchantments, this is Woody Allen coasting. But where better to coast than the loveliest coast of all?

Pacy thrills are doled out in a solid Sam Raimi-approved pulse-raiser with a few nifty ideas up its sleeve. Shall we try ‘Don’t Smell’ next?

A strong directorial debut from Winslet with — as you’d expect — stellar performances from her cast. It might be the perfect antidote to other, overly saccharine Christmas films.

Ahmed excels and the set-up is compelling but ultimately this is middle rank stuff from the Monsoon Wedding director.

Surprisingly, even after waiting 20 years, they managed to turn out a smart, darkly-comic thriller with some imaginative twists.

Like a real-life stroppy teen, Assassination Nation is pissed off with something new every five minutes — but there’s style and sophistication here. The Trump era has its first dorm-room classic.

But for anyone willing to swallow a large pinch of salt there is much to enjoy in the film's numerous nail-munching, white-knuckle set-pieces variously employing firetruck ladders, subway trains and a finale so ridiculous that it just... might... work.

Ricky Gervais very much plays the hits in an undercooked but occasionally funny big screen revival that suffers from a crippling case of de ja vu. Brent’s last goodbye? You’d hope so.

More madness in the midday sun than Midnight In Paris. Baldwin, Cruz and Davis shine in a farce that overstretches itself into bellylaugh hits, but also some satirical misses.

Some will find this impenetrable and irritating, but audiences willing to tune into Hosking’s off-kilter style will be moved by the ridiculous love stories and relish the hilarious eccentricity.

Despite Fischbach’s arguably admirable intent and exertion, this low-budget sci-fi horror makes Event Horizon look like 2001: A Space Odyssey.

Caine leads an impeccable cast in a story that is as touching as it is funny, turning the mundane minutiae of fading lives into a vibrant display.

Like last year's "Chronicle," here's another reminder that in the right hands found footage still has plenty of capacity to surprise.

Genuinely sweet and endearing Murphy film, at last.

As a director, this feels like Stiller’s moment. Mitty is a film that bravely rejects cynicism. In many ways, it’s the new Forrest Gump. Go with it and it is, in all senses, wonderful.

A Street Cat Named Bob has its heart in the right place but doesn’t quite land on a tone to unite hard hitting drama and a cat-based comedy.

After a strong start, the story ceases to challenge itself and its characters, offering easy options and a Prozac-soft finish.

A strange, mostly enjoyable mix of big political questions and crude comedy, Zohan overcomes its skeletal plotting and uneven gag ratio through Sandler?s sheer commitment to nonsense.

Gloopy family drama meets Hollywood cod-spirituality in a movie that’s defeated by its over-ambitious scope.

If you enjoy Gondry’s brand of homemade art direction then there’s plenty to delight early on, but it’s all wallpaper.

Part Alien, part Gravity, just not as good as either of them. But Life whips along at a decent pace and deploys enough engaging action sequences to make it work.

Even the slightest wisp of critical thought will bring the house-of-cards plot tumbling down, but avoid thinking too much and it’s a frothy, sun-drenched bit of fun.

A surreal, endlessly creepy exploration of love and desire, with a terrific turn from Tatiana Maslany, makes for an exciting and unpredictable departure in Osgood Perkins’ oeuvre.

For a movie that has dark in its title, and which is — yes! — darker (people die, Asgard is grimier, as befitting Alan Taylor’s Game Of Thrones heritage), Thor 2.0 is consistently amusing.

An old-fashioned, B-movie creature-feature with some CG gloss. Beast is as predictable as anything but it’s a fun, silly, well-made film about a man punching a big cat.