Some wonderful visual flourishes and two brilliant central performances by Wright and Lawrence help to illuminate the Gibbons sisters’ headspaces. But without important context, true insight and understanding remains elusive.

It’s an energetic survival thriller and terrific showcase for Lively’s chops, but iffy plotting and a sloppy climax detract from the terror.

Unable to strike enough fear in an audience, this brave foray nevertheless takes a hatchet to the notion that it had gone soft.

A great cast and promising premise get swamped in an awkward mix of airport-novel noir and blokey family melodrama.

It rips a few too many pages from familiar playbooks, but when it indulges in its own weirdness this film casts off those heavy caterpillar tracks and soars.

For its target teen audience, it's a decent enough movie.

It does slow down a bit too much for endless walking hither and thither scenes in the woods, as we ebb toward the grand reveal, but the mystery proves strong enough to hold you.

Workmanlike suspenser, with plenty of cold water but sparse chills. When it comes to James Cameron scuba thrillers, "The Abyss" still has the edge.

Although some say Wayne's Oscar was given out of sympathy instead of his performance, he still acts well as the sheriff who's past his peak. Proving he wasn't always a serious as he was made out to be, he plays the role with aplomb, even pastiching himself in other films.

Prestigious, well turned out piece of British historical drama with enough genuine intrigue and wit to persuade some audiences they aren't watching a history lesson.

A small but neatly formed horror oddity that prises suspense out of a familiar parental worry: is the person my child has fallen in love with who they say they are?

A remarkable ensemble in an uneven patchwork of loss, longing and the urgent necessity of a societal rethink.

High in gloss if not necessary insight, this is manna for fashion fans but a marginally slighter piece of work than The September Issue.

Restrained but promising stuff from Keough and Gemmells, who exhibit strong world-building and lightness of filmmaking touch. A moving exploration of fatherhood, racial tension and reservation life.

Still smart, still exciting and still action-packed. It's just a shame to note that, after promising greatness, all Spider-Man 3 delivers is satisfaction.

Despite the ridiculous premise and casting this is still a pacey little sci-thriller.

Regardless of the skittish structure and illegible subtitles, this is a valuable reflection on an incalculably influential career, which serves as a timely reminder about the pitfalls of artistic tyranny.

An unusually thoughtful look (and a broad one) at powers on the wane, at America's shift from Vietnam polarisations to 80's apathy, and at one man teetering on the brink of a lonely old age.

At times is heartbreakingly sad -- maybe not quite Bambi territory, but certainly moving in its own cute and furry way.

Wasikowska gives it her all, and Cohen shines, but while this is a better film than the first, that was a low bar to reach.

It may be unevenly paced, but JUNG_E delivers where it matters: propulsive action sequences, emotive drama and grand existential questions about the human connections that sustain us.

Skinamarink is equal parts frustrating and fascinating. It’s an unsettling Rorschach test with a haunting ending that will settle in the pit of your stomach like a stone. But it can be a polarizing experience that pushes the limits of patience.

C&W lovers will lap it up - look out for some stellar Nashville cameos - and there's big-lunged uplift to see you through the cornball plot turns.

If the series wants to become a franchise, a rethink and new blood will be necessary -- maybe Banderas can get mortally wounded in reel one of The Son Of Zorro, passing on the mask and sword to, say, Gael García Bernal.

A decidedly grown-up thriller that will surely be torn to pieces by teens on TikTok, this feels like a slight wobble for Guadagnino, but is still a sharply entertaining and intense watch.

Phoenix, Hoffman and Norman, especially, amuse and move with their relatable performances in Mills’ sweet drama. It’s nicely visualised but can feel unnecessarily long in places.

Trouble is, James Ivory just doesn't do sleaze. The tawdry milieu of taxi dancers, pleasure-seekers and spies rings hollow.

A fun, frothy return for Frank and his creaky commandos.

There's charm in this simple underdog tale, but clunky plotting and characterisation mean it has 'telemovie' written all over it.

Some inspired grace notes elevate a thriller that's more De Palma than Hitchcock.

With some of the best costumes since the musicals of the '50s and one of the '70s funkiest scores, it's quite rudimentary on most levels - it's no Shaft.

Whilst I Am Greta succeeds as a chronology of Thunberg’s meteoric rise from lone protestor to the voice of an international movement, a more nuanced, detailed and definitive exploration of this extraordinary teenager still feels needed.

Not on a par with Ghibli's greatest work like Totoro or Spirited Away but not without charms of its own. A solid second effort from Miyazaki Junior.

A documentary that preaches to the converted if ever there was one, but Dunn's enthusiasm for the subject and the range of pretension and humour of his interviewees makes for fun viewing.

While it assumes a fair bit of knowledge of the social changes exploding in sixties America, there's a wealth of fascinating material and punchy insights into an earth shaking movement.

Insufferably long, but very good in parts.

The two stars are very good, doubtless enjoying their high fashion outfits, and the script has one clever plot reversal in the third act, but it really could have done with a few more thrills (the motives for the killings lead to necessarily slow plot development), either in the murder or the sexual perversity departments.

A far-from-rosy life story makes this lengthy biopic entertaining, but despite a strong lead performance it fails to get under Piaf’s skin.

Familiar biopic beats hold it back, but strong performances and McAvoy’s sincere direction make it a promising debut, balancing humour and heart.

Bigger, better and more polished than the first, with a quite satisfactory ratio of action set-pieces and a lot of juvenile japery squarely aimed at its PG and fanboy audience.

Strong performances from the young cast make a compelling case that the US govt is failing its soldiers, but the film’s a little too much of a blunt instrument.

A tropical sex comedy that’s a little unfocused, but Segal and co throw plenty of funniness at the wall - and most of it sticks.

in the end, Paycheck never quite cashes out.

Is this what Studio Ghibli’s future looks like? Probably not. But what Earwig lacks in animation elegance, it makes up for in sparky, kid-friendly adventurousness.

A drama of upper-middle-class menace that can’t quite bring itself to be a full-on slasher movie, this has a few too many clichés but offers some creepiness and decent performances.

The jokes are strong and delivered by a very talented cast, but the heart isn’t there. It’s easy to laugh, but hard to care.

However, writer-director Mark Herman never really achieves the correct balance between the serious and the feelgood, allowing an uneasy tone to prevail, while the small screen style and supporting cast of familiar TV faces suggests this would play more comfortably on the box.

This is Ben Wheatley on a different register: a bigger scale, a more mainstream approach. There’s much to like — but the shadow of Alfred Hitchcock looms large.

Pirates isn’t able to fully flesh out the individual journeys of its charming cast. However, it’s a worthwhile trade-off for a good laugh.

Steve Martin does his schtik to perfection and Michael Caine unveils some adroit comic timing in this charming but mediocre comedy.

Silly but enormous fun, complete with gypsy musical numbers and an insane battle royal finish.

So insubstantial it may not actually exist, The Mule is very much the latest in a long line of minor Clints. But it might help pass the time on long journeys. Just make sure you don’t watch and drive.

Not to everyone's taste, but an earnest and hearfelt tale nonetheless.

Many will love this because it forces them to cry; others may resent it for the same reason.

An adaptation of the Dave Eggers novel that struggles to make itself stand out, content instead to coast by on gentle comedy and Hanks’ charm. Pleasant but ultimately forgettable.

A sweet but predictable chick flick, this coasts by on the considerable charm of its two leads.

It's good to see Harlin back in the mountains, and while this isn't on par with Cliffhanger's thrills and spills, it's a smartly-executed little whatdunnit.

If it’s slightly hampered by a generic love story and pie-in-the-sky teenage pontificating, I Lost My Body should still rank among the year’s most original and peculiar films. Hands down.

The background is more intriguing than the stumbling up-front story, and monster watchers will get full use of the freeze-frame facility.

While the sun shines, it’s a four-star thriller with a superb turn from Smith. When the moon rises, it’s a two-star horror cartoon with some of the worst FX we’ve seen all year. So, really, it has to average out at…

It doesn’t quite marry up underlying themes with its hairy horror surface, but Wolf Man delivers strong performances, skin-crawling bodily changes and excellently scary sequences.

Humerous, but doesn't gel as well as Levinson's previous efforts.

Serviceable action thriller than unleashes John Milius-style guerilla setpieces without the impact of John Milius-style budgets.

A fly-on-the-wall look at the band that will thrill fans but may not convert too many non-believers.

Peter Farrelly’s latest semi-serious effort is light, goofy and sometimes perilously frivolous. But like sharing a few beers with your buds, you soon warm to it.

This is a gentler, less confrontational Solondz. It makes you laugh, but probably won’t leave you reeling after. Some fans of his might consider that a disappointment, others might find it a relief.

While not quite the war movie that many of us were hoping to see right now, Mendes’ dispassionate take on the first Gulf War has many merits, and it does bring vividly to life the peculiar dilemma of the modern soldier.

A laudably amoral and superbly caustic comedy for those who like their satire strong and unfiltered.

It might be easy to jump to conclusions as to why Allen made such an irreverent film when his life was in such turmoil, but more to the point why he made it at all. While relatively enjoyable and amusing, the acting begins to grate as the married couple bicker constantly but thankfully Alda and Huston are as reliable as ever.

The chemical combustion just isn't there between Julia and Clive, and you can't help wondering if Gilroy wrote this with George Clooney in mind. Still, a glamorous, diverting escapade that over-30s in particular can enjoy.

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.

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.

The depth of talent in the cast and gag writing shines through, but it’s only just enough to take your mind off of the flat animation.

The garish, exotic, retro styling is Anderson at his visual best. In terms of character and sensibility, though, this is sadly Anderson at his worst.

Often gripping, and elevated by Cranston’s superb central performance. But it’s hard not to feel like we’ve seen this before, often and done better.

A grand folly, but lots to love.

This is a come-for-Lopez, stay-for-Lopez endeavour, and she’s on fine, movie star form in this serviceable, if forgettable action thriller.

Sharply written, beautifully shot, but confusingly paced, Paris, 13th District is an enjoyable if forgettable snapshot of modern love and relationships.

From Phillippe Rousselot’s exquisite cinematography, with the stunning scenery of Montana as a backdrop, to Redford’s assured direction, this is utterly alluring, and manages to make fly-fishing seem not just romantic, but thrilling.

Both leading ladies display great willingness to send up themselves and Hollywood, and Willis' quiet nervous breakdown showcases his previously unguessed-at comic skills. But it's the pitch-black comedy and celebrity satire that make this so enjoyable.

Like "There's Something About Mary," Orgazmo has a very sweet love story at its core, although it's more consistently entertaining, blending some outrageous moments with a surprising degree of restraint.

The Menu’s straight-faced depiction of absurd culinary violence may not be imaginative or thrilling, but the film is rarely boring. It’s deep-fried junk disguised as gastronomy; it may not fully satisfy, but it’ll fill a hole.

The film doesn’t quite trust the magic of the garden, adding visual dazzle and, sometimes, artificiality, but when the film relies on the kids and their relationship it still finds the book’s magic.

This is intentionally jagged but nevertheless frustrating, a little too self-satisfied for its own good. Yet there are some great moments and, when it relaxes a bit, it has charm to spare.

Bart, the bear used in the dramatic attack sequences, gets top billing in the end credit crawl. Which is fair enough, but hardly inspiring.

Lushly photographed by Andrei Zhegalov and impeccably played, it’s a long-overdue corrective to the kind of wildly patriotic war film produced in the Soviet era.

Powerful, personal, but bombastic.

There have been far, far worse remakes out there. Harmless, feel-good fun.

While Gibson and Downey work well together, Air America does tend to be slightly overcooked in the cheap laugh department at the expense of a meandering storyline.

Fun if uneven stuff from Ratner. A welcome return to form for Eddie Murphy and an even-more-welcome turn by the ever-excellent Alan Alda.

Despite elements that threaten to drag it down into the depths, Ben Wheatley’s Meg sequel (cherish those words) battles a waterlogged script with playful pulpiness, delivering solid summer fin. Sorry, fun.

Some okay thrills with good performances and some smarts. But the last reel plunge spoils things. Myth for the new millennium: any average, out-of-shape middle-aged Yank, including the President, can get in a punch-up with a few well-armed, super-trained terrorists, and win.

Charming, funny and great turns from a cast with no finger-wagging. But if you don’t like psychosis-inducing imagery, steer clear.

The fantastic action scenes featuring Chan in his pomp are slightly let down by comic overkill.

It leans too heavily into ham-fisted cliché but Jack Huston’s debut gets by on a striking look and a clutch of strong performances led by an excellent Michael C. Pitt.

If you can stomach the wobbly lessons, the sometimes clunky writing and the offensively bad Irish accents, this is a perfectly fine thing to pop your kid in front of for a couple of hours.

For exploitation-enthusiasts and Scorsese completists only.

Okay, so it's not exactly a groundbreaking advance from the team behind "Ice Age," but with its kaleidoscope of colour and heaps of humour, you'll be charmed.