A well-made Euro pudding, Alone In Berlin, like The Book Thief, can’t find the depths, darkness or daring to stand out.

Definitely of the so-bad-it's-almost-good genre, this kinda stands the test of time in a camp way, mainly because of the charm of Pfeiffer and Carrington.

One of Streep's finest-ever performances. But beyond that - whatever Morgan and Lloyd's intentions - it's little more than a myth-enshrining exercise.

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.

Sound silly? It is. Very. But it's also highly enjoyable, incredibly slick and a damn sight more entertaining than numerous other bombastic actioners. Bogosian makes for a splendidly deranged villain.

As spectacular and surprising as you would expect from Scott. Its spiritual uncertainty – and lack of triumphalism – perhaps robs it of a truly satisfying, cathartic conclusion, but also makes for a truly modern, thoughtful biblical blockbuster.

It follows the rules of the genre as unwaveringly as its hero follows orders, but despite that, there’s a tense, tightly constructed thriller here — and Chris Pine makes a decent play as a neo-Bourne.

A blistering, brutal Iraqi Scarface. You do wonder what the point of it all is, but Cooper is fantastic. Twice.

An enjoyable foray into JK Rowling’s imagination, bolstered by a more appealing Eddie Redmayne, but you can’t help feel The Crimes Of Grindelwald is still treading water until future chapters.

Fans will be left on a high; other viewers will be confused but generally entertained by a saga whose romance is matched only by its weirdness.

A children’s film for pensioners, 80 For Brady is an absurd, silly mess. But in spite of itself — and thanks to the warm, genuine chemistry of its legendary leading ladies — it is sweet, and difficult to truly begrudge.

Although lacking specific context and fussily presented, this is a harrowing account of the Arab Spring as witnessed by seven reluctant and committed activists in Libya, Syria and Bahrain. The footage of the violence inflicted upon civilians is truly terrifying.

A pretty craven attempt by Disney to cash-in on Star Wars blockbusting success, this lightweight but well-written sci-fi adventure movie is well pitched at the very young. More discerning fans of the genre would do well to smother their indignation at the levels of general plagiarism floating around the deck of the supership Cygnus.

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.

Like a parody of a Jason Statham film, without any of the joy that might imply. This Working Man just doesn’t work.

This is a movie for the boys who like watching men being real men - cursing, shooting and fighting - and anyone who likes this kind of wham-bam entertainment will certainly get more than their money's worth.

It’s a promising idea that starts well, and although it starts to flounder by the end, Kunis and McKinnon do sterling work making sure it never completely runs out of energy.

Caine and Duvall paired on screen would be worth the price of admission even if they were just reading the Yellow Pages.

Squeaky clean fun for the youngsters in the family. Everyone else hide.

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.

The remake/parody sequences - trailers for which are on the official site - are outstanding, but Black’s all-over-the-place mania and Mos Def’s slightly too bland orphan hero don’t quite tie the rest of the picture together. Still, it has heart. And you’d rather see this version of "Rush Hour 2" than the original.

An arch mix of police procedural and supernatural chiller, this is bleak, edgy, sometimes silly stuff.

Misfit cameos, apparently random asides and an almost continuous onslaught of unsettling sex and violence mean there’s no mistaking David Lynch’s hand behind the camera -- but there’s enough of a narrative to make this work as a straightforward road movie, too.

Not many teen romances use high-concept fantasy to probe the nature of self. But despite its fascinating conceit – and strong opening scenes – Every Day is undone by blandness.

How did such a dream project on paper turn out so wrong. It should remain one of the great mysteries of cinema. The less said about this one, the better. For Spielberg completists only.

Visually stunning, thoroughly belligerent and as shallow as a pygmy’s paddling pool, this is a whole heap of style tinged with just a smidgen of substance.

An unexpectedly entertaining mixture of good, clean Disney fun with some rather more modern action scenes, lent charm by Johnson’s natural swagger. One of the better family films in a while.

A hard-boiled version of Rocky, with enough anti-Balboa brutality to keep our interest.

Despite some lovely cinematography and interesting insights into what makes the Parisian landmark so special, Eiffel is a forgettable forbidden love affair.

After several successful films where he plays the tough-as-nails cowboy, Wayne wasn't about to break the pattern now. Playing the only character he knows, he gives several inspiring speeches to an unlikely group of kids who turn from boys to men.

A desire to Know What You Did Last Installment is likely to be the biggest draw for Scream number four, but if this proves to be the last in the series, it's a bloody shame it ended not with a Scream but a whimper.

Familiar but enjoyable. Not being funny, the elephant (Rosie, played by nine-foot enchantress Tai) is the real star as the most moving and only joyful presence in sight.

Messier and heavier than Days Of Future Past, this is not so much the next step in the X-Men’s evolution as a failed callback to past glories.

It looks fantastic, Gru is still loveable, and smaller viewers will be engaged enough. But Despicable Me 4 stalls in its overstuffed plot and its lack of an interesting narrative.

Most of the people who see this will own funnier home videos of wedding disasters.

As a chance to see the celebrated Broadway show with the original cast, this is a treat. As a re-interpretation of a classic, though, it's a disappointment.

Derivative but tongue-in-cheek enough to have a following.

A daft idea perfectly calibrated to Black’s pop mania, then hermetically sealed by a director who thinks he’s making a Hal Hartley movie.

The interesting world of the film doesn’t get the story it deserves.

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.

While it’s not a crossover classic, this has enough wit and charm to entertain both big and little people.

Middle-aged scouse housewives and Willy Russell is a bread and butter combination: no frills, a tad repetitive, but plenty of substance nonetheless.

Packed with more clichés than a pizza has pepperoni slices, this is truly disappointing, especially after Lane’s stunning performance in "Unfaithful."

Win A Date With Tad Hamilton is a valiant attempt to create a love triangle, but ends up getting all its sums wrong.

Huge ghostly fun, and a fine achievement from the early days of CGI.

Tolerably exciting spycraft, but stuck with a see-through plot. Washington and Reynolds are watchable, but not exactly stretched by these roles.

A tender, nostalgic and warm ‘family’ drama which also quietly seethes with the threat and tension of imminent danger. Labor Day shows a new side to Jason Reitman as a filmmaker, and we like it.

All style and no anything else, especially plot coherence.

A fluffy but fun telling of a rags to riches story.

Considering how its inflammatory ambition and scattershot execution put it closer to Spies Like Us than The Great Dictator on the political comedy spectrum, The Interview should ultimately stand as the boastfully juvenile lightning rod that modern American culture deserved — no butts about it.

There’s nothing wrong, of course, with sci-fi films asking Big Questions, but the delivery doesn’t have to be — should never be, in fact — this tedious.

Had this adaptation of the young adult fantasy-romance taken a few more liberties, it might have been a home run.

This old-fashioned tale of folk heroism and hardy underdogs benefits from solid performances and spectacular vistas, but it loses points for a sequel-baiting ending. 

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

As you'd expect, Meyers handles the material with assurance and charm, and there's fun to be had in the odd-couple dynamic at her film's heart.

A little too exactly like the original but with (fewer) memorable performances.

In what could have been a definitive tribute to Whitney Houston’s career, surface-level execution means her story is not quite done justice. But Naomi Ackie's performance shines above everything else.

Emphasis has been placed on extravaganza, when it should really have been placed on getting good performances out of a talented cast.

If not quite on the level of Garbus's terrific Bobby Fischer documentary, this still filled with fond recollections of Mazza's life and career. Fans will relish it.

A crushing disappointment for fans and a scuppered opportunity for a cinematic event. That the first book has been so mishandled doesn’t bode well for the (already greenlit) more complicated ones to come.

With so much money and talent at work here, though, this latest incarnation of the legend is considerably smaller than the sum of its parts.

This slight, lightly charming comic adventure is most obviously appealing for the "Best Exotic Marigold Hotel" set — though Bryson himself was in his forties when he made his journey.

The fear factor is back. This is a Jurassic sequel that plays it both adrenaline-pumpingly huge and thrillingly small. A summer ride that will drive kids out of their minds, and maybe even give the parents nightmares.

Made more than two years ago, this is nowhere near as well thought out as its predecessor ["Boyz N The Hood,"] and is far more strained in making its point.

Not as funny as you’d hope – and yet the emotional character work pays off, right down to a sweet epilogue. Romcom fans should attend.

A modern-day treatment of Pygmalion and Cinderella rolled into one, it is graced by first-class performances from two easy-on-the-eye stars and a sharp, funny script.

Don't expect anything too profound from this middleweight fare - but it'll still be better than the inevitable remake.

Veers too close to hagiography, although it's visually arresting enough to carry you through sagging in the narrative.

This leaden relocating of an iconic German saga to 16th-century France isn’t helped by the miscast Mads Mikkelsen’s morose display as Michael Kohlhaas.

The Neon Demon pulls off the unique feat of being both boring and bravura all at once. Like the world it depicts, it’s a feast for the eyes but little else.

Top Gun is not so much a movie in the conventional sense as an escalating series of masterfully crafted adverts: motorcycles, aircraft carriers, pectorals and planes all look as if they’ve been shot for a particularly luminous beer campaign.

Not Woody Allen at his best, this period piece has some clever writing but is not completely convincing.

Though the central performance is impressively raw Farming’s uncompromising bleakness drowns out the fascinating story, making it a far tougher watch than it needs to be.

Boasting a powerhouse cast, The Last Full Measure has the best of intentions, to celebrate servicemen without condoning war, but winds up with little else.

There's a hint of comforting, chocolate-box, Sunday-night TV here, but it's delivered via such quietly powerful performances and with such hope that it's hard to resist.

This is sadly unsuccessful as both an eat-the-rich satire and a schlocky B-movie. Not even Paul Rudd and Jenna Ortega can rescue Death Of A Unicorn from expiring on arrival.

Gilliam at his best and his worst.

A safe, effectively jumpy transfer of Alien to the depths that restores the fear of Jaws into an environment momentarily softened by The Abyss.

An entirely charming extension of the most unlikely franchise, gently handling big themes and dissolving cynicism with laughter. Maggie Smith is superb.

This sequel is still considerably funnier than the original, with the male leads excelling in their roles.

We get a mother-daughter murder melodrama even more farfetched than the Joan Crawford classic, Mildred Pierce, on which this would appear to be loosely based.

Another "Hangover" was too much to hope for, especially as this was scripted by committee. It's a bit funny but also quite a bit nasty.

Aiming squarely at Carries, Mirandas, Charlottes and Samanthas, How To Be Single is familiar but fun.

Though The Man In My Basement juggles a few too many ideas, Nadia Latif has crafted an unnerving thriller with dynamite performances from leads Willem Dafoe and Corey Hawkins. 

The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.

Bright, breezy, thoroughly enjoyable while you're sitting through it yet not likely to stick around in your head for long.

Don't let the 'Quentin Tarantino Presents' tag deceive you, this is a mixed bag of lumpen dialogue and martial-arts magic that never quite coalesces into the delirious mayhem we'd hoped for.

The acting is wooden, but fans of the director’s more shocking work might enjoy its gentle self-referential comedy.

Far from the giant mess you’d expect from the delayed release, late title change and a production history as muddled as the source material, Singer’s tall tale is snatched from disaster by an all-hell-breaks-loose third act.

A wildly ambitious space opera, but also a self-indulgent narrative morass. Sometimes, it seems, creativity can benefit from a few limitations.

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.

It may not be as daring as Young Adam, but this is a well-performed adaptation of an absorbing melodrama.

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.

Much like Pakula's "Presumed Innocent", this is a solid and intelligent, if unspectacular adaptation, and just a tad tighter than The Firm to give it the edge that's needed.

There are flaws aplenty, but also some effective, old-fashioned Western style performances and a spectacularly over the top finish.

Cute, clean, camp fun, full of sunshine and toe tappers. Guaranteed to put grins on tweenies who are in to High School Musical, grans with a pair of platforms still at the back of the wardrobe, and a lot of people in between tone.

A well-rounded, unpretentious, very funny, knockabout adventure - subtly blended so that it's fun for all the family.

While not the balls-out action movie the marketing suggests, this Rock-powered family drama is not with its moments.