The most worrying thing about She's All That is its message. The "ugly duckling" (specs, dungarees, art-lover) must conform (she gets a makeover and the boys notice her "bobos" for the first time) to fit in.

The building may be taller than The Towering Inferno and the stakes may be higher than those faced by John McClane in Die Hard, but in comparison to both, Skyscraper is little more than a cinematic bungalow.

This fantasy comedy should entertain its pre-teen female market – and repel those silly superficial boys (swoon).

A soapy but stirring romance with two committed leads.

An uneven debut from John Slattery that nonetheless shows flashes of flair and a jet-black sense of humour.

It has its moments, but it blows the interesting premise — the resurrection of Jesus told as a mystery — too early for an overlong, overly religious finale.

Incoherent and inconsistent, this is a step back for Statham in his quest to become more than a cult figure.

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

Despite its story-telling ambition being two sizes too small (much like its hairy protagonist’s heart), The Grinch is impossibly cute, visually rich and boasts enough festive fun to satisfy young viewers.

A good performance from Barrymore, the admirable Gilbert (who talks as her character on Roseanne would if she was covered by an 18 certificate) and director Katt Shea Ruben, a Roger Gorman associate hitherto best known for sleaze thrillers set in strip clubs.

As double-cross becomes triple-cross becomes quadruple cross, it all gets awfully trying.

The Man Who Killed Hitler And Then The Bigfoot is a strange but enjoyable mishmash of genres and ideas held together by the gravitas and class of Sam Elliott.

Attempting to encompass too many genres dulls the overall effect but this still commands a certain fascination.

An enchanting blend of Disney twinkle and Tim Burton’s dark whimsy that’s at its best when venturing off the beaten path. Come for the super-cute elephant, stay for Keaton and DeVito’s glorious reunion.

Lost Transmissions is a clear-eyed view of schizophrenia, aided by a powerful Simon Pegg performance yet hamstrung by some woolly filmmaking and a whiff of pretension.

Cleaner has good people behind it but this British attempt at a Die Hard ends up just being a bit of a mess. Yippee-ki-nay.

The animals are cute and Gleeson is extremely game. What keeps Peter from Paddington-style delight is a self-conscious need to distance itself from its source material.

A playful industry satire made by victors. That's actually pretty cold when you think about it.

Marshall's film is crammed full of good ideas but doesn't have the cohesion to pull them all together. Less effective than "Dog Soldiers," never mind "The Descent."

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

Riper than the ripest of ripe Brie, this crime caper provides a ridiculous vehicle for the talents of pretty much everyone involved, all of whom appear to be having a splendid time. Taken on these terms, viewers probably will too.

Even with a starry cast, the stirring true story is this drama’s standout feature.

This film falls down in it's attempts to do everything at once, so that a potentially horrific scenario is often played out to comic effect. It doesn't quite work and the film manages to undermine itself.

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

Savage Grace is simply hysterical: a film as harsh, brittle and unbalanced as its characters.

Thoughtful, moving, and Bettany is brilliant. To be reminded of the power of love to redeem and repair, catch Creation.

The film does work, but not quite as well as the Hepburn-Tracy classic that it seeks to replace. Mildly amusing.

Despite the amiable charms of the central couple of Cheers' Kirstie Alley and a back-from-the-dead John Travolta, it is director Heckerling's goofy willingness to let her imagination run riot that prevents her film from sinking into soap.

Not quite Four Weddings-funny but always entertaining and endearing in equal measure.

It doesn’t quite successfully balance its warring tones, but a winningly grumpy performance from Tom Hanks — and a winningly sunny one from Mariana Treviño — ensures for a very watchable take on the ‘giving life another shot’ subgenre.

At heart, this is a simple Zen fable about love and death. In execution, it’s a complex and gorgeous mini-epic with sterling performances from its two stars.

About the dumbest movie Clint Eastwood ever put his name to.

Yet in spite of the affable Mr. Moog, the mood remains distant, too fetishistic to be passionate. Great noises, though.

It's well performed, and Collet-Serra knows his way around a beautifully timed scare, but what's most haunting is the sense that the same idea has been done better before.

Interesting misfires from Wong Kar-wai and Steven Soderbergh barely manage to atone for the seedy muddle concocted by eightysomething Michelangelo Antonioni, who mocks his own reputation for existential ellipsis with his voyeuristic vignette.

Karate Kid: Legends doesn’t quite live up to the promise of its Cobra Kai-meets-Mr Han marketing. But for breezy feel-goodness, you’ve come to the right dojo.

Cheerful, kitsch and camp.

That it is a cartoon that takes kids right out of the equation is the best recommendation of all.

Character motivations are glossed over, explanatory scenes are jammed in haphazardly, and the finale relies on a tonally bizarre combination of schmaltz, coincidence and violence that seems to betray the arc of the whole movie.

If you thought the first Trolls movie was fine, you’ll probably find this fine too. It completely lives up to the watchable mediocrity of its predecessor.

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

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

Fear, a sort of pubescent Fatal Attraction, is derivative and often risible, in the competent hands of Foley it's also highly enjoyable.

As elegant as the man's clothes, this handsome biopic traces 20 incident-filled years in the life of the designer.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

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

A solidly okay Saturday night effort, but unambitious considering the talent involved. Maybe Rodriguez should direct Predator Resurrection, but get a science fiction writer to script it.

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

It admirably avoids many of the pitfalls of adapting this book, but seems to have lost some of the life and pace as well.

Newcomers will be puzzled by the clumsy contextualisation and muddled motivation of characters who, robbed of their inner lives by a clunky script, are left floundering amid the melodrama and speak-the-plot dialogue.

Despite its hopeless predictability, this is one of those preposterous and sweet-natured family frolics that you find yourself enjoying in spite of yourself. Check your critical faculties in at the door and get stuck in.

What it lacks in freshness and depth, The Gentlemen certainly makes up for in cartoon-y bluster and fun details.

Poetic but bleekly pessimistic version of the Danish tragedy.

A huge, bulging disappointment.

Imagine if Stanley Kubrick had made Ghost and you're some way to this classily restrained oddity, but its morbid preoccupations and ambiguity might prove too cuckoo for most.

What most people remember is the mix of the live-action tracing within the traditional animation and just how effectively creepy it managed to be, but for the time this did a pretty good job of adapting the dense novels.

Beautifully acted, it's a tender love story with one or two belly laughs.

If it is at times a bit indie-by-numbers without the courage of all its convictions, this is a grittier, saltier than usual rom-com populated with laughs, smarts and a couple you can root for.

For all his ambition, Serkis can’t find the right tone for Mowgli and it becomes a very confused beast, neither fun enough for all ages to enjoy nor complex enough to be the visceral, grown-up thriller he nudges at.

A strong cast can’t rescue the repetitively crude and recklessly derivative material. Mike and Dave need a lot more help than in merely finding wedding dates.

A splendid performance by Naomi Watts holds together this smart and astutely restrained lampoon of life in the Hollywood basement.

A strangely drab adaptation of Diderot's much racier novel.

The ensemble acting is so strong the characters are likeable without being annoying, and aside from the odd corny line which serves as a reminder of the movie's stupidity, if taken at face value it becomes a fair enough yarn with bundles of energy.

There’s a hodge-podge of ideas going on that don’t always seamlessly fit, but Wan’s homage to ’80s horror and Wallis’s fretful performance, has a bloody lot of guts.

The action is well-shot, and the buddy dynamic is fun. There’s plenty here that’s familiar, but it’s actually not a terrible way to spend a couple of hours with your Familiar.

A topical study of writers' deceptions, which also explores issues of identity and the blurred lines between fantasy and reality, The Night Listener is intriguing, thought-provoking and harrowing by turns, with fine central and supporting performances and a richly satisfying feel.

It would be easy to dismiss this as a plastic Hugh Grant rom-com but it has enough smarts, laughs and feel for its likeable characters to make it worth your while.

While it doesn’t quite boast the bullet-train speed or slickness of the original, it’s not a cheap replacement bus imitator, either.

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.

An entertaining, provocative biopic with good performances and many strong scenes — but it still doesn’t feel like the full Lovelace story.

It’s a fun premise, one that this treats seriously, but it never quite reaches the highest levels of the genre.

Dramatically it’s bitty, with, to paraphrase a great American newsman of the time, too much, too fast. But there is no denying how absorbing the tumultuous events of those four days remain.

Stanton has built a fantastic world, but the action is unmemorable. Still, just about every sci-fi/fantasy/superhero adventure you ever loved is in here somewhere.

If only he had probed a bit deeper, and widened his scope beyond the predominantly white, male subjects (including our own Rob Brydon, Steve Coogan and Stephen Merchant), this could have been a fascinating film as well as a funny one.

Sloppy crime epic.

It's no Anchorman, but it's several steps in the right direction.

A curveball from the man who made "2012" and "Independence Day" and probably only a brief respite for the world's major cities.It's more of an interesting curio to a blockbuster career but there's fun to be had here if you look hard enough.

Except for the success of Three Men and a Baby, (NOT Little Lady), Tom Selleck had great problems making the transition to the big screen. Here is another case in hand with such stereotypical characters as Hutton dominatrix and Hoskins Londoner.

Christopher McQuarrie and Tom Cruise deliver on their promise, with a witty, violent take on Reacher that makes up for its lack of height with an abundance of smarts and thrills.

Never content with one cliché when it can shovel on ten, Romeo Is Bleeding — to borrow a quote from the film's own press notes - "would be a comedy if it weren't a tragedy".

Mind you, Eastwood went on the star with an orang-utan, twice, so this is only his third maddest film. Although, it could be his dullest. Which was one thing no one would of expected of this madcap enterprise, born of a what-the-heck attitude from its macho stars — that it would struggle so hard to be fun.

It’s comedically uneven and overly distracted by side-characters, but when Clerks III gets to the heart of Dante and Randal’s decades-long friendship it’s enough to assure you that Kevin Smith is still open for business.

If you liked Enchanted, this is a dependably familiar serving. In an era where Disney is constantly raiding its archives for intellectual property to remake, this is a sequel that feels unusually original by comparison.

There's no lack of style or pace from Noyce, just the sense that it isn't quite gelling together.

Amiably silly and impressively gory, this lives up to both its low-budget inspirations and its rocker stars.

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.

Even worse than it sounds.

The former comedy co-stars (Knocked Up) are superbly cast in this fascinating, fact-based story.

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.

This is one teen dystopia that sustained its quality across the trilogy. It may not set the world alight — ironically, given the solar flare that started its story’s disaster — but it 
will get the blood pumping.

While it won’t be remembered as one of the great Christmas films, Last Christmas delivers enough moments of heart and humour to keep the festive spirit alive.

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 an odd mix of "Saving Private Ryan" odyssey and romantic melodrama. It has sincerity, sensitivity and is often ravishing to look at but is let down by a chocolate box love story. Still, Crowe still might have a "Braveheart"/"Dances With Wolves" in him yet.

Now You Three Me, as it should be called, offers ample 2010s nostalgia, but not quite enough brainless fun lands successfully. Put this rabbit back in the hat.

It might not have the overwhelming impact of an Endgame or even a Guardians 3, but this is the MCU back on fast, funny form.

Not a bad premise, but material demanding a light touch is weighed down by a desperate desire to fit in, like a little kid swearing to impress the big boys.

Good idea to cast the brat pack in a Western but this was badly realised and altogether a bit flat.

With Eastern Promises and Dirty Pretty Things, screenwriter Steven Knight has proved his ear for London's darker rhythms. Here, though, there's little to raise the pulse.