A soapy but stirring romance with two committed leads.

Buffeted by a lack of suspense, threadbare characters, and a very poor script, the stunning visuals, gloopy madness, and sterling Fassbenderiness can't prevent Prometheus feeling like Alien's poor relation.

Van Damme once again bends and twists his muscular frame to superhuman excess, but his Belgian tonsils have all the flexibility of the Himalayas when it comes to splurting out his one-liners.

Not quite vintage Black, and Mark Wahlberg is no Robert Downey Jr, but this is fast and funny enough to be worth a couple of your hours. Squint hard enough and it almost feels like you’re back in the ’90s.

Gritty and raw with some decent performances, this is not for the faint-hearted.

Ingenious and wonderfully detailed, though better in its imaginative horror than its slightly too-broad comic knockabout. It's not quite on the level of Coraline, but it's proper summer fun with some dark delights.

A dream cast are on good form in a film that makes you want to call your siblings, but very glad you don’t live with them.

Piece By Piece’s very existence is baffling, and the Lego of it all is never entirely justified, but as an unconventional documentary of a maverick musician, it works — just about.

Despite Cage in a snit, it's a likable if functional summer-show.

A solid telling that spans several fascinating periods of 20th century life.

A solidly made, sternly acted, and faithful realisation of the distopian novel.

Tender and beautifully acted, it's a unflinchingly bleak glimpse of life on Australia's margins.

This is arguably although unfortunately Goldie Hawn's most memorable role. For while she embodies the character perfectly and when the jokes are funny they are hilarious, sadly there just isn't enough to keep the film going and it begins to run out of steam half way through, with an attempt at a deeper meaning ruining the film.

A smart script, edgy acting and a gradual accumulation of suspense set-pieces makes for a decent popcorn high.

It all adds up to just another glossy Love Story.

Shot with grace and precision but paced with all the urgency of a Sunday afternoon stroll, Joanna Hogg's Haneke-lite study of an English middle class family is a well-crafted affair elevated by terrific moments.

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

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?

An uneven mix of impressively executed, violent clichés about good ol' boys defending the American right to flout the law.

There’s beautiful visual and verbal comedy, and the film has the creative spontaneity of a dream, foreshadowing Spirited Away (it influenced Miyazaki). However, the lack of momentum and focus may end up boring children, while the English dub actors sound a little stilted.

Affleck and Bernthal make a funny, if morally dubious, double act, as Christian’s autism lets sociopathic hit man Brax think of himself as the ‘normal’ brother. Best bit: the line-dancing scene.

The plotting - Kelly's struggling painter falls for Leslie Caron's French waif, engaged to nice but dull Georges Guétary - lacks the pace, exuberance and wit of, say, Singin' In The Rain, but compensates with fantastic Technicolor visuals..., George Gershwin's sublime music (pick of the tunes: I've Got Rhythm, S'Wonderful and Our Love Is Here To Stay), sublime art direction from the great Cedric Gibbons and astounding choreography and footwork from Kelly.

Visually arresting, with an enjoyably wacky premise, but scuppered somewhat by its rusty, clunky storytelling.

Cheerful, kitsch and camp.

Despite all the confusion, it's a simple case of the script being too ambitious. It may emulate a man experiencing flashbacks, but it doesn't help the audience.

The gleefully Gothic fingerprints of Guillermo del Toro are all over this zippy excursion into Mexico's myths and legends, although the gag-count falls quite a lot short of Pixar greatness.

As a one-off this could have inoffensively scraped by on thin charm alone. But don't forget kids, it gave rise to such monstrosities as Last Action Hero, Junior and Jingle all the Way…

If you’re not fond of Lopez’s soapier films (hello Maid In Manhattan) this might make for queasy watching, but stick with Second Act for its smart reframing of a city Cinderella story that retains its sense of humour.

The stories are all individually charming, but overly familiar animation and underwhelming character-design blunt the effect. 

Unpretentious, warm, at times hilarious, it's hard to find a bad word to say about Crocodile Dundee.

Castellitto deserves great credit for toning down the melodrama in wife Margaret Mazzantini's novel and producing a very human story about chance, choice and consequence.

Despite some tired storytelling devices, Lee is a handsomely made, moving biopic of a subject who deserves to be honoured — with stellar chemistry and performances from Kate Winslet and Andy Samberg.

With hard-boiled dialogue, sleek God’s-eye views of the city and serious talent in supporting roles, you’re not given a chance to get bored. Even so, an air of overfamiliarity hangs over proceedings.

The film has a wonderful super-production look and Baldwin's Shadow breezes through via nifty invisible effects, but the plot never really gels, and for an action fantasy is rather cold.

It’s as predictable as an Advent calendar, but thanks to Kurt Russell’s grizzly charms, The Christmas Chronicles at least gives us one of the movies’ best Santas yet.

A genuine oddity, Welcome To Marwen may not hit the emotional highs but mixes high-concept fun with a sincere attempt to describe trauma in an original visceral way. And Zemeckis’ filmmaking remains exemplary.

It’s not quite as fresh or fun as the first film, but P.S. I Still Love You still has plenty to love about it – not least another loveable performance from Lana Condor.

Still not an essential series like Bourne or Bond, but this entry has a refreshingly light touch and some of the best action of 2011. See it at an IMAX for optimal vertigo-inducing effect.

Good fun, and though it breathes hard in the second half, the ensemble has charisma to spare.

Good central performances but short on plot.

Karukoski’s entertaining film boasts flair and narrative ambition, but ultimately fails to completely break free of its traditional biopic frame.

Yeah. Light and fluffy it may be, but this is undeniably entertaining stuff.

Much more than just a witty title, this is a very genuine, very British send-up.

A movie that while thin and silly, moves with such joyous speed that you almost want to throw your arms in the air and scream.

Lotfy Nathan’s debut is a grounded, sensitive portrait of a country still reeling from dysfunction. The script doesn’t penetrate as much as Adam Bessa’s searingly intense performance, which gives this social drama impressive emotional heft.

Not exactly light entertainment and it can drag in places but when the drama is cranked up, it really works.

Likeable leads and the odd good joke makes this romance an amiable time-passer.

Contrivances and clichés abound, but Bird Box still manages to be a compelling, high-concept idea thanks to Bier’s faultless direction and impressive cast.

A solid if fairly derivative attempt to steal Disney’s thunder. There’s enough pep and vigour here to keep kids interested, if not quite enough for the grown-ups. 

Creepy rather than scary, and more a ghost story than a monster movie, this has a good heart but feels a little toothless for something with so many killer robots.

Exciting in parts, Meryl Streep and Kevin Bacon doing their best, but arc of suspense doesn't quite bring you to the edge of your seats.

A most fascinating disaster of genre making.

Zoo is the antithesis of edgy, an overlong, all encompassing experience that despite Crowe's integrity and lightness of touch doesn't deliver the emotional experience of, say, "Jerry Maguire" or "Almost Famous." Still, it is good to have the righteous dude back.

A loud, careering thunderbolt of a bipoic, that leaves behind an imprint of the myth, if not enough of the man.

Interesting but flawed.

It’s all a little too lightweight, and not above corniness and sentimentality, but it does earn its little emotional breakthroughs, modest as they are. And the sense of time and place is vivid.

Bigger, weirder, and just about funnier than the first, the second Shazam! remains entertaining despite some tiresome plotting. And who doesn’t want to see Helen Mirren as an all-powerful Greek goddess?

Not nearly as terrible as burped-out Sandler disasters of recent years, there's enough funny stuff here to remind us of his talent. Still, it's not for everyone.

A persuasive, warts-and-bolts depiction of warfare from the guts of a tank yoked to an overwrought, sub-Private Ryan account of innocence under fire — so a hit and a miss.

Sound tricky? It is, and all a little too cutely so, the switches back and forth between realities ever more contrived and eventually tiresome, prompting giggles of relief as the storylines painfully draw towards a soap operatic convergence.

If it’s missing the charm and Murphy’s magnetism from the first film, Coming 2 America delivers a broad, serviceable return to Zamunda.

A sometimes clunkily executed true-life story which at least has potency in its blend of subject matter and lead actor. Despite often being hard to watch, this is Rosamund Pike’s best work yet.

Six Feet Under scribe Jill Soloway offers a wry perspective on married life as Temple's stripper-with-a-heart is lobbed into this domestic yarn like a firecracker in an arms cache.

Formulaic, yet scrappy, and extremely funny in fits and starts, General Aladeen is the first of Cohen comic creations to get a better vehicle than it probably deserves.

More solid Prime Video Sports Doc than Subject-Transcending Asif Kapadia Investigation, Twelve Final Days is nonetheless an entertaining, occasionally illuminating and at times surprisingly moving look at the final bow of a genuine tennis legend.

Part fever-dream, part supernatural thriller and not entirely successful as either, Louis Drax is nonetheless watchable, bolstered by provocative themes.

Centred by a committed, affecting performance by Noomi Rapace, Lamb gets over its longueurs and missteps with interesting ideas, filmmaking craft and a unique tone of voice. Also includes some of the best animal acting of the year.

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.

This does a serviceable job homaging '80s actioners but not a whole lot more. Go for the explosions, zone out for the plot.

Forman and screenwriter Michael Weller brought a sense of coherence to the original freewheeling structure and Twyla Tharp's choreography imparted an infectious dynamism. But, the profanity, nudity and disregard for the fourth wall that had made the stage show such a sensation were lost in the translation.

Strongly performed by a fresh-faced cast, A Paris Education is familiar and doesn’t completely grip, but is an enjoyable celebration all the good things in life; films, arguing about films, friendship, love, politics and Paris.

Charming in that neurotically adorable way Charles Schulz established over many years, this is a fond continuation of the Snoopyverse.

DreamWorks Animation’s most heartfelt series bows out with a beautifully designed finale, but the long-awaited emotional goodbyes for its beloved central duo don’t quite soar.

Joel Edgerton once again proves himself a gifted filmmaker — but for all the craft, compelling performances and good intentions at work here, the drama itself falls somewhat short.

A sort of kiddie creature-feature with a big red heart, Clifford offers solid family fare with moments of throwback charm. Not quite a 12/10 on the WeRateDogs scale, but still a good boy.

Highly likeable, pleasantly unpretentious and plenty amusing.

As Cunningham goes about his work chronicling changes in fashion and the city he loves, a portrait emerges of a man deserving of ever bit of the respect and esteem in which he's held. There's few sharp edges or dirt digging, but it's no less engaging for that.

Potentially horribly worthy, or even irritatingly superficial, the film succeeds simply by not trying to be too clever or too intense.

Interesting portrait of the shallow nature of fame but overall this fails to engage on an emotional level.

Holocaust drama shot like costume drama, creating a sense of aesthetic disharmony.

Guy Ritchie delivers a nice surprise: an LA neo-noir with high-voltage action and an ice-cube-cool Statham. If it gets a bit tangled up in its time-hopping reveals, it’s largely 
an enjoyable, rattlesnake-mean thriller.

More style than substance... but such sexy, sexy style...

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

You'll know exactly where it's going, but it still has Clint doing full-on-cranky and is a fun finger-up at corporate suits the world over.

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.

Nearly as good as the last film — the starrier cameos compensating somewhat for the more scattershot plot — this is fun but could have been more deeply felt.

In spite of what may seem like a direct-to-VOD vibe, this is a slick, nasty thriller with a throwback quality, neither too self-serious nor too self-aware. While it’s not especially fresh, it’s still solid genre filmmaking.

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

Okay video-dungeon-style horror, a bit marooned on the big-screen but nevertheless murky fun.

Klayman exploits the opportunity to follow a man at the eye of a cultural and political storm, although more detail on his creative process and private life would have welcome.

Despite its admirable strengths and the fact of it being a true story, there is somehow a failure to completely connect with the fierce boy, giving his unhappy and alienating youth an unfortunate air of unreality.

Well played across the board, The Riot Club is an entertaining glimpse into the dark side of privilege. Yet it lacks the richness and insight to be anything more.

The latter half of Chevalier is a little by-the-numbers compared to its energetic opening violin duel — though it is uplifted by its sharp critique of white institutions, and a strong performance from Kelvin Harrison Jr.

It won't do anything to win over those not already partial to Tarsem's style, but it has more than enough blood, guts and glamour to satisfy – and Cavill looks like a superman.

Anchored by a steadfast James Norton, Mr. Jones doesn’t grip as it should, but is a timely, well-made reminder about the importance of reporting the truth when the world doesn’t believe you.

Filmically it's more of a pleasantly diverting kick about in the park than a 90th minute back-of-the-net at the world cup final.

The Dive uses its underwater setting to add new thrills to a formulaic survivalist story, even if its attempts at emotional depth end up feeling a little shallow.

Judd is well cast as the small town gal looking to start afresh and gain her independence in this chick flick about learning who you are. The supporting cast allow Judd to spar of them, with the result a pleasing but by no means exciting story.