Woman Of The Hour isn’t the serial-killer thriller you’d expect, but more noble for it. Kendrick shows promise as a director, her lacklustre male antagonist hammering home this film’s purpose.

Newcomer Mason Gamble manages to be terminally cute without getting on your nerves, and his reluctant friendship with prissy eight-year-old feminist-with-a-lisp Margaret (who tricks his friend into kissing her doll's bum and then taunts him with the "baby-rump-kisser") is simply hysterical.

The epitome of middle-brow 'quality' drama -- admirable within its limitations, but Bernard Schlink's Oprah Winfrey Book Club-approved book wasn't exactly literature, as this isn't exactly cinema.

Operating with more of a steady pulse than a full-on thrill-ride, this revenge flick exchanges fists for brains with only decent results.

Bland, but wholesome.

It has managed, admirably, to strike a balance between the wholesome 'school nerd blossoms' fairy tale and the gross-out comedy that is now a teen movie standard.

Renner’s solid performance anchors a formidable ensemble in the type of well-intentioned docudrama more likely to leave your head shaking than your pulse pounding.

Blomkamp’s third movie has just about enough spectacle and quirk to overcome some fairly major flaws, not least of which is an unappealing central trio.

This is a valiant but overcomplicated Western that aims to redraw the lines on Western mythology: with heroes as mere humans, and heroics as distortions of the truth.

Whatever his intentions, the finished product is about as deep and meaningful as you’d expect from a work starring the Man Who Is Clark Griswold. Which is a good thing really, as, uncomplicated, genuinely funny comedy players are thin on the ground at the moment, and it means Memoirs can carry off the semi-slapstick, borderline-cretinous gags with pace and panache.

An insipid '80s nostalgia piece really, held together by Fox's performance and several neat turns from his support.

Kids will love it but adults may find it just too silly to sit through.

If you can make it through the bland schmaltz of the first half you'll be rewarded with a spectacular blast of sustained action and the promise of even better to come. This could be the start of something great.

An enthralling, enjoyable if ultimately far-fetched thriller.

It’s a real pleasure to be whisked across the world by Baumbach, but perhaps this cinematic glass of Prosecco goes down rather too easily.

Enough large-scale spectacle scenes to outweigh the inevitable religiose sludge that creeps in between them.

A good shout if your kids like this sort of thing, otherwise best head to your local aquarium.

John C Reilly just about holds together a funny but patchy comedy that puts a ten-megaton bomb under the cliched rock biopic – and never detonates it.

Not all of it works but it does breeze along, thanks to its likable characters and dry wit.

Sheen thrives in the guise of the idiosyncratic Clough in a brilliantly candid, if bitty, football parable.

Though it doesn’t stray far beyond fan service, this is a comfortable extension of a beloved British show that delivers a reliable mix of quotable comedy and heart.

Handsomely done but short on the atmosphere and passion of a genre classic.

Some great acting and visuals make up for this thriller’s frostiness.

Ror all its cleverness, Emily Rose does have its hokey moments.

Impressive because Loach keeps things simple in an accurate social study.

An engaging, if familiar, mix of teen rites of passage, the fun of friendship and mooning over a cool girl. Still, Nat Wolff and Cara Delevingne make for a watchable duo.

Not exactly ground-breaking, but an engaging story prettily told.

Best enjoyed for the fun, slick action and the astonishing, super-expressive realisation of Alita herself, because elsewhere it’s cyberpunk business as usual, marred by some sloppy plotting.

A frothy and often charming directorial effort from Hoffman, his first in a Hollywood career that's spanned five decades, that will keep Downton fans happy.

A more restrained effort from Araki than the headrush of Kaboom, there’s plenty of fun to be had in Eva Green’s Joan Crawford-esque turn as the vanished lady

A solid, often entertaining life-of-crimer which benefits from some stylistic touches and a faithful, convincing central performance.

It is a complex and at times infuriating structure — it often helps to conceive of the film as the book of short stories it stems from — but simultaneously vivid and disturbing.

The performances are alright enough but the casting was a bizarre choice and it's just not strong enough to carry the premise.

While the Norman vistas are glorious, the storytelling lacks wit and charm.

Sequelcraft 101 – if you liked the others, this is more of the same. Extra points for using a nailgun on pigeons.

Every tiny aspect of the universe here comes from the filmmakers' imagination, and while this occasionally leaves us bemused, the film as a whole is a magical, otherworldly trip into undiscovered areas of cinema.

Five stars for cute and courageous Milo and the intrepid and loving Otis, but any adult who isn’t a devoted animal lover is warned to stay away.

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

Ridiculous, of course, but not as ridiculous as it might have been. As much fun as it has with the idea of animals stomping cities to rubble, it seems shy of going completely over the top, and it’s the poorer for it.

Surprisingly watchable despite the formulaic teen format.

Ultimately, Irma Vep doesn't quite have the courage of its convictions, but still provides plenty of scathing satire on the state of French cinema.

This has the power to unite a female audience ready and willing to overlook its supposed weaknesses.

An unlikely but effective found-footage horror from Goldthwait.

It never comes close to the classic status of its predecessor, but for drive-in horror thrills, this still has sufficient bite.

The Amazing Johnathan Documentary starts as a blast but as the journey progresses, becomes ever more slippery: Is Szeles tricking Berman? Is Berman bamboozling us? The answer is entertaining and frustrating in equal measures.

The Dig is well played, especially by the leads, and visually gorgeous, but it lacks fire and ironically doesn’t get under the surface of its story.

A pleasing and pretty enough re-run, just that bit diminished.

A darker turn for the sensitive Sebastián Lelio, and yet more proof that Florence Pugh is among our greatest treasures. Plenty of food for thought among the emptier moments.

Enjoyably satirical and occasionally insightful, it's betrayed by some lazy stereotyping.

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.

More interestingly, it paints the Bolshoi as a microcosm of Russia, in thrall to tradition but beset by greed, backstabbing and corruption.

Odd, confident, challenging, and featuring a brilliant turn by Williams. If only there was just a little more to it.

It's no Paddington 2, but Peter Rabbit 2 works well thanks to a mocking sense of self and a strong second half. Once again, Beatrix Potter, it is not.

Undeniably effective, in its own blunt way, this deserves credit for shining light on a crime that’s — unbelievably and controversially — still denied to this day.

A mix-tape of successes and failures, perhaps too light for its subject, but a silly, easy watch.

Familiar formula yet Morgan Matthews’ feature debut adds up to a satisfying whole.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Likeable stuff despite being slow paced and rather sentimental.

While the tone may shift from satire to farce at times, this is a highly assured debut by Rizvi.

Despite a plot that should be simpler, Get Smart is as big on action as it is on laughs and works because it?s less a tired spoof and more a quality comedic adventure movie in its own right.

Tonally the film is never more than the sum of its parts, while Sumpter, although physically perfect, just isn’t charismatic enough as Peter.

Sex and swearing from David Mamet: the family guy. Fun for grown-ups only.

Sand Castle does a respectable job of depicting a wretched conflict that none of its participants wanted, but its reason for being feels a little built on sand.

With The King Of Staten Island, Apatow goes for the heart — but with lesser yuks than usual and a subdued lead, it all kind of drifts by. Within it, though, are moments of real vigour and fragility.

A Twilight Zone–worthy premise, subtly sold by ace make-up effects, makes for a decent-enough thriller, intriguing in the moment but ultimately too timid to say anything meaningful about ageing.

It’s a conversation starter: a cultish exploration of female sexuality in a culture dominated by prostitution and patriarchy.

Apart from an irritating plot glitch this is a solidly entertaining ride, more than competently directed and played.

As a fish-out-of-water comedy-drama, it works well.

Prepare yourself for a shock: a horror remake that, at its best, manages to recapture the original’s hardcore nastiness. It could certainly do with laughing at itself a bit more, though.

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

Morita still charms, Macchio still tightropes between petulence and raw optimism, whilst the fight scenes are competent enough to offset the woeful romantic sub-plotting.

Sumptuous to look at, with some decent performances but Branagh's attempt at this gothic horror just doesn't hold together convincingly and fails to engage.

Heavy-handed in places and bad news for the Detroit Tourist Commission, this is still a slick, fun ensemble piece and a step back in the right direction for Singleton.

The mammoths aren’t all that is wild and woolly in this innocent, old-fashioned, amusingly self-important, entertainingly mad, rip-snorting throwback to vintage Saturday matinee fare, with all the swell set piece thrills state-of-the-art technology can throw at it.

A beautiful, languid travelogue, although with some of the source novel's empowerment diluted.

Quietly compelling, but lacks finesse in its characterisation and dogged denunciation of the Ethiopian justice system

Knowingly kitsch, Liquid Sky uses the most basic effects and featuring music and fashion that were cutting edge at the time, it now looks fashionably retro. With lots of sex and violence, it sounds a lot more promising than it is, let down by its poor acting, script and a cast we feel little sympathy for.

A desperately sad look at two men whose determination to rebel against their heritage and succeed in their artform has rendered them unable to communicate. Compelling stuff, though.

Fans of Broken Lizard's previous work will enjoy this beer-fuddled effort; for anyone else it has its moments, but is best watched through beer-goggles.

While Ascher brings the experiences to life in a way that could conceivably induce nightmares in casual viewers, the potency of these scenes is ultimately diminished by repetition.

Pitched awkwardly -- neither for children nor cool young adults -- it's very sweet, very nice and just the thing for a girlie matinée with mum and nan.

Fun spoof but it's been surpassed in the TV-series film spoof since then.

Entertaining if inconsequential, Companion is buoyed by solid central performances from actors that seem keenly aware that it’s all just a bit of bloody fun. Viva la robot revolución!

Unashamedly rubbery fun.

Matilda is a blackly comic, delightfully off-the-wall picture that both kids and adults will lap up.

A compelling story bolstered by engaging performances from Jessica Chastain and Daniel Brühl, let down by occasional awkward tonal shifts and clumsy plotting.

Like his plans, Megamind verges on greatness but has flaws. But it's fun, energetic and at times dazzling. Expect a stronger sequel - unlikely to be 'darker and grittier', though.

A tangled narrative and damp-squib ending detract from an otherwise joyous Spaghetti Eastern.

Even if you're not a 'fan' of the musicals, Oliver is so witty, so bright and so endearing that even the iciest viewer should start melting in it's corona.

Exotica reaches for the mysterious, subtle and provocative with sparing but tangible success, and is flashy in the same way earlier Egoyan films were buttoned down.

With Ahmed and James’ connection holding it together, this is a tight, tense throwback to the paranoid thrillers of yesteryear that just about sticks the landing.

Landis' latest keeps you laughing not with it's originality (of which there is little) but with it's confidence to out-joke it's predecessors on this much-trodden ground.

With the feel of prestige telly, it's nicely done, sweet and moving.

This uneven but well-researched film takes a much more sober and realistic view than the Rambo-esque capers, of the hardships endured by shot-down Americans in conditions that were anything but Hilton-like.

It sets out to be less pompous than similar films, which inevitably means it feels less substantial. While amusing rather than hilarious, it ought to establish Matt Damon as a star character actor.

Fleischer Camp brings a light touch and a good human cast to this reverently faithful effort, but it’s never as clear and bright as its source material.

It's a missed opportunity to make a great documentary, but still decent family entertainment, with awe-inspiring Antarctic scenery and some very cute stars.

Like many sequels, Truth To Power is bigger but messier than its predecessor. While it doesn’t quite deliver the oomph of the original, it is still a timely, persuasive wake-up call.