Zendaya and John David Washington deliver career-best performances in this mesmerising two-hander that ruminates on love, life and art.

This slight, modestly sweet and mildly charming affair squarely aimed at the older cinemagoer is just the bill for those seniors’ matinées where the ticket comes with a cuppa and a biscuit.

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.

Astronaut doesn’t have the budget or cinematic ambition to deliver on its premise. Despite the best efforts of Richard Dreyfuss, it reaches for the stars and misses by a mile.

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

Too long, and too wrapped up in its various plot contrivances to notice it’s veering off course. But Jack just about pulls the wheel back, aided by Verbinski’s flair for cartoonish comedy action.

A flawed work held together by Alwyn’s tender presence.

This is unlikely to win Kathryn Lansky's antipodean owl fantasy any new fans, but even the bemused (and confused) can luxuriate in some grand-scale visual storytelling.

A classic screwball comedy that draws its inspiration from the 1930's genre. The jokes are quick and amusing enough to carry it through it's hour-and-three-quarters. Russell and Hawn have fun with the characters which comes through and makes it all the funnier.

This has a lot of good ingredients but just doesn't quite manage to pull it off. It's looks dated and Shirley Maclaine doesn't quite capture the sympathies of all audiences.

The script fights well against the cliche-ridden plot but this is very average all round.

The plot may play second fiddle to the visuals, but there’s no denying that these visuals are to die for.

Solid production values lend a polish to the spooks and there are strong performances all round, especially from the ever-excellent Rebecca Hall, but there's little here to add to the well-worn haunted house genre.

Only distinguishable from the original movie by its obvious cheapness.

Charming performances from Bailey and Page can’t make up for the crushing levels of cringe. More an underwhelming pasta ready-meal than a fine-dining experience.

If you’ve never seen Luther, don’t start here. You will be completely lost. Even dedicated fans are likely to be confused by this messy revamp of a story that once felt dangerous but is now merely daft.

A nice idea, and the setting makes it instantly more interesting to a UK audience, but it’s let down by lapses into cliché and by simply not being audacious enough with its action set-pieces.

My Dog Skip for people in mid-life crises, it?s too talky and trouble-laden for tykes but will doubtless prove as critic-proof to dog-lovers and the stars? fans as it did in the US.

It falters a little in its confusing climactic battle, but is breathlessly paced, wittily scripted, amusingly played, action-packed and relentlessly spooky.

Tense and occasionally disturbing, but somehow you’re left with the nagging suspicion that what should have been a meaty psychological drama has been turned into a slightly insipid thriller instead.

With an uncompromising attitude to complex plotting and graphic content, Red Sparrow is a promising beginning to a potential new spy franchise. Just be aware of its unexpectedly barbed edges.

A remake that doesn’t see the legacy of Carrie White burn in hell. But not one that adds much to it either.

Not all the plot developments ring true, but moments carry a real chill - even in a coma, McKellen can terrify a fellow patient almost to death - and it has more than enough thought-provoking material to command your interest.

The concept of combining Adam Sandler and horror is not a bad one. But this is no Abbott And Costello Meet Frankenstein. Instead, Hubie Halloween inspires mild dread for all the wrong reasons..

Shot in magisterial black-and-white, veteran director Trueba's drama is a welcome return from the Belle Epoque man.

If there were a special Academy Award for Contrived Premise, this picture would be a hot favourite to scoop the statuette.

Greg Berlanti’s revisionist comedy offers a fresh take on the Apollo 11 moon landing, but its convoluted conspiracy fails to capitalise on the charms of Johansson and Tatum’s workplace romance.

Sparks fly, but the grim cynicism of modern politics adds subversive weight to the film’s screwball comedy stylings and has a lot to say about modern politics, in the US as well as abroad.

De Palma is incapable of making a dull movie, but poor performances and a see-sawing tone make this an unsatisfying experience.

Lovers of no-taste splatter movies will be in hog heaven.

Co-written and directed with sensitivity and visual flair by Anne Zohra Berrached, Copilot puts an intimate spin on the devastating events of 9/11.

Eyre’s all-star cast may shine in Allelujah, but even Dame Judi Dench can’t save a film whose third act so spectacularly nosedives into “Batshit-Craziest Story Choices Ever Put On Film Hall Of Fame” territory.

Fast, funny, very British and less militaristic than, say, The Peacemaker. On this evidence, we may be forced to say, Carry on, Bond.

Lincoln meets Sudden Death: a corny but raucous throwback to when Planet Hollywood was hip. Gary Busey popping out of a rose bush wouldn’t feel out of place.

Not even Halle Berry’s presence can enliven this stale sports film-family drama mash-up. By the end of it, the barrage of clichés leaves you black and blue.

Surprisingly sedate telling of the rather well-known tale from Catherine Hardwicke.

If you do pick up a penguin, you could do worse than experience Michell’s kind of spiritual and moral awakening. Still, the film is thankfully sharper and less cute than it initially appears.

A spirited gothic tale, played with welcome black humour.

A film that is entertaining but not seriously absorbing.

A black comedy with flashes of genius, but let down by a sharp slide into chaos.

Benicio Del Toro’s solid screen charisma can’t rescue Reptile, a derivative and lethargic thriller that rarely thrills as it tries and fails to build a case for itself as a meaningful iteration on the detective thrillers that it admires.

The emphasis on character in Rambo scribe Kevin Jarre's screenplay (aided by Vincent Patrick and David Aaron Cohen) gives the film unexpected maturity.

Efron gambles with his image, but he knows when to up the star power. It’s perhaps fitting that the film falls flat when he, playing a killer who loved the spotlight, leaves the screen.

Unworthy of comparisons to Hitchcock, but as a thriller it's not a complete failure either.

The dialogue is intelligent, but the humourlessness -- and the fact that most of the cast could use a good slap -- results less in involving drama and more in the viewer being held hostage in a 90-minute therapy session for the well-dressed and narcissistic.

Whoopi's affable clowning aside, this film has little more than the title and the bad-mouthed postponement of cliche going for it.

There is bound to be a large appreciative audience for this chick flick. But it might not be you.

Adam Sandler goes back to his Happy place for this unashamedly stupid sequel. What it lacks in precision or panache, it makes up for in sheer goofy, golf-y geniality.

The endearing moments in Kevin Smith’s coming-of-age cinema-fest are weighed down by underwritten comedy. Could have done with being more sweet, less salty.

Sam Jackson delivers the electric blues in a not-so-blue movie that promises more Deep South sin than it actually delivers.

A competent procedural rather than the ground-breaking cybersaga we’d hoped for. But as with Miami Vice, Mann’s boundless style does a remarkable job of disguising the lack of substance.

Neither a luridly enjoyable piece of Scarface-style pulp or a nuanced genre subversion, Idris Elba’s directorial debut is a fitfully entertaining 1980s gangster thriller.

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.

Sometimes cheap but largely cheerful, this is a fun stocking-filler for horror fans — with plenty of heart to pump all that blood.

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

Not quite as nauseous as its plot might suggest, Little Manhattan is sassy as well as sweet.

Once again combining a sense of genuine dread with a mischievous vein of humour, Insidious Chapter 3 successfully closes the trilogy with its beginning.

Despite winning turns by Lewis and an on-form Goldblum, the laughs are in short supply.

Saturday Night Fever by way of Strictly Come Dancing, Frost’s solo movie lacks the inventive madness of his Cornetto team-ups, but it’s still a heartfelt blast of fun.

What begins as a series of pleasant revelations and a deft example of genre defiance is nearly crippled by cliche in its second half, but The Rock's surprising dramatic magnetism will hold you until the final whistle.

Nail-biting and genuinely heartbreaking moments mean it's emotionally involving, even if it isn't the cheeriest drug dealer saga in town.

Yes, disbelief is required not so much to be suspended as removed altogether, but it barely matters as this is an adrenaline blast of the highest order.

Brimming with ideas and laudable ambition, it's well worth a look.

Gerard Butler proves he has more in the tank than just thoughtless action with this Middle East-set thriller, which is unexpectedly interested in the people and politics behind the usual explosions.

The late, great Robin Williams brings great nuance to the anguished Nolan’s inner struggle in a slight but sensitive story about a man facing a life-changing choice. It’s a worthy legacy for a beloved, talented and much-missed actor.

A compelling idea delicately handled and neatly played, especially by Bullock. It just lacks the emotional directness to turn the good into the great.

An initially cool premise that goes nowhere interesting as it heads off somewhere else too quickly. Hartnett does his best, but director Shyamalan seems more interested in trying to convince us of his daughter’s pop-star credentials.

An improvement on Murder On The Orient Express, with the increased focus on Branagh’s Poirot (even with its strange moustache obsession) welcome enough to distract from the problems with some of its ensemble and its too-obvious reliance on VFX.

A genuine disappointment from an intriguing, potentially even subversive premise. It’s another commanding performance to add to Monroe’s oeuvre, but this Cradle is more frustrating and forgettable than it is thrilling.

Director Chloé Zhao’s entry into the superhero world is assured, ambitious and told on a dizzyingly cosmic scale — but even it can’t escape the clichés of superhero storytelling.

A fiendishly effective holiday-gone-wrong thriller that's better at cranking up the agoraphobic action than fleshing out its characters. Still, it'll find few fans at the Mexican Tourist Board...

Andra Day is excellent as the jazz singer struggling to survive in a hostile world — but the film around her can’t decide exactly what story about Billie Holiday it wants to tell.

Okay, but it lacks conviction.

All along, of course, we are supposed to realise they're made for each other, except that that's a little hard to swallow when there's so little chemistry between them.

Not exactly a world leader in the action movie stakes – but entertaining enough, particularly thanks to Viola Davis. 

It feels a little like ‘a very special episode of The Walking Dead’ and might be a tad low-key for its field, but Schwarzenegger and Breslin are good and the payoff is affecting.

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

Guilty, with one or two mitigating circumstances.

Fans of the original won't be disappointed, but ultimately it's just another decent, arguably unnecessary, '70s horror remake.

An enjoyable journey with a stellar cast, though the baggage we carry as modern viewers sees this ride derailed before its denouement.

An engaging study of a beautiful but mysterious mind, which also reveals the stressful nature of world-class chess tournaments and raises the deep question of where intelligence actually comes from.

With flying pigs and magical nannying, this will charm children - but it could have been a little more charming for adults.

One or two serious scares and some excellent creature design work make this a superior British horror sci-fi.

It’s soppy and sentimental, and it’s no longer possible to take the famous pottery sequence seriously, but some neat special effects and a healthy dose of humour prevent it from becoming mawkish.

The plot is predictable and the look unmemorable, but Johansson has nevertheless crafted a pleasingly old-fashioned character piece with just enough bite to balance its emotion.

Dated of course, being typically 80s, but maintains a certain charm.

Director Steve Miner, on board because Carpenter passed, made two of the early Friday The 13th sequels and manages the business of the sudden knee-jerk shocks with ease, realising (as the previous sequels didn't) that Halloween movies are supposed to be scary not violent.

Proves that nouveau horror is alive and kicking hard.

Fun, but it mugs too hard.

What could have been a watery rehash is a fresh, exciting update on an attractive story that previously got lost in its own glamour. Do not underestimate these women.

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

Like Maximus, the hero who inspires the theme of its pivotal party, Greed will keep you entertained. But patchiness and occasional preachiness mar a clearly heartfelt message movie.

Short, sharp and mostly satisfying, this is a thriller that sticks to the stripped-back fundamentals of the genre — no more, no less.

The obvious chemistry and charm of Sydney Sweeney and Glen Powell counts for a lot, yet not quite enough, in a romantic comedy severely lacking in both romance and comedy.

There is a frustrating absence of personality which means, for all her physical presence, this Major’s just not very engaging. It’s more a problem with the film than Johansson herself. A case, if you will, of it being so preoccupied with the shell, it forgot to bring enough ghost.

A misguided screwball narrative sacrifices the performances of talented men for clumsy, baggy rom-com tropes. Bring back Pony and all of Mike’s men – or just release a live DVD of London’s best night out instead.

Well-acted by the superb ensemble cast but there just isn't a likeable character amongst them to care about.

An action comedy without any action or comedy – not even The Rock’s charisma and enthusiasm can save this dud.