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

An interesting introduction to (or reminder of) Amanda Knox’s story following the murder of her flatmate Meredith Kercher, but it doesn’t have the depth of other recent true-crime investigations.

Another ‘live-action’ remake that’s darker and less compelling than the animated original, but it’s saved by Bailey’s charming performance, McCarthy’s sass and the story’s own eternal magic.

McCormack, Grant and Delpy waltz with flair in this stylish if unoriginal slow-burn thriller. Best consumed with a large glass of red wine and one’s tongue in one’s cheek.

It might have worked better if it took itself a little less seriously.

One of those films that seems like it was made mainly for film festivals - and it has the awards to show for it.

Sensitive performances from a willing cast bring Zola's novel to life on the big screen.

Uneven, immature and a little derivative — but entertaining performances from Olivia Cooke and Alec Baldwin keeps Pixie watchable.

The lamest of the three versions but the performances are bearable.

Big, bold and teeming with imagination, it is so busy world-building that it occasionally forgets to have fun. But with this heavy lifting done, there’s every reason to hope for an even more magical adventure next time.

A soft-spoken yet chilling domestic horror film that tells its slightly overfamiliar tale effectively, with strong performances, quietly disturbing atmosphere, one or two friendly clichés, and good, old- fashioned scares.

This time the banter is tighter and funnier, and Calvin’s musings on the importance of community seem more heartfelt.

Unasked for, unnecessary but unexpectedly enjoyable.

Despite following the same formula as its predecessor, Enola Holmes 2 keeps up the charm and humour with a crafty mystery filled with entertaining twists and turns.

The best Muppet movie for some time, adding film references a-plenty, dark, edgy comedy and even a touch of post-modernism to the usual all-singing, all-dancing ridiculousness.

Impressive visual invention by Nimoy and the reliability of his cast mean that Trek III does more good than harm to a franchise still competing with it's younger, more tehnologically advanced adversaries.

The Instigators isn’t exactly revolutionary, but is a good time regardless: an easygoing crime caper offering an excellent cast a fun sandpit in which to snipe at each other.

Theroux’s first big-screen doc is an entertaining affair, peppered with surreal moments and wry wit, but its elusive subject remains out of reach.

Charming, if disjointed, it’ll give you one hell of an appetite.

It's all a little too coincidental for comfort, and surprisingly short on laughs for a comedy, but nonetheless this is a light, well-meaning flick, improved considerably by Lake's scatty heroine.

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.

Has its moments of spectacle and danger, but offers too few genuine insights or rite-of-passage epiphanies.

Charming but uneven, director Améris's film doesn't know whether to make us laugh or cry, and ends up doing neither. Still, a smart script offers plenty to keep incurable romantics happy.

An amazing true tale is somewhat diminished by second-hand storytelling: entirely admirable, largely entertaining, and yet curiously hollow.

There's a desperately inevitable, powerfully tragic last reel, but getting there is absolute torture.

It makes for a patchy comedy that's stronger as a genre-mocker than a political satire.

Paul Schrader's intense drama pulls out all the stops.

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.

With a more accomplished script and an actor of rather more technical prowess than Reeves (nabbing the Prince Hal role), this may just have worked. Here, it is just squirmingly embarrassing stuff.

Persevere through the sluggish first two acts and you'll be rewarded with a touching relationship perfectly acted by Lewis and Breslin.

Mat Whitecross draws compelling lines between Coldplay’s past and present in a documentary as colourful and optimistic as its namesake album. It’s one for the fans — even the ones too reluctant to admit that they are.

A classic, of sorts.

Harmless enough day in the sun for Goofy; pity there's an overwhelming feeling throughout that he deserves better.

Dated and a little clunky but with a few moving performances from the leads.

It’s vivid, substantial and works hard to be worthy, but as it ticks off the milestones of a monumental life it flickers more often than it really catches fire.

A rollicking cat-and-mouse thriller in bad weather. And no dog.

Ambitious and visually impressive as a pop-video mash-up, but, lacking a strong emotional core, it doesn't quite cohere as a fully satisfying movie.

It’s clearly made with real love and care, but shows far too much deference to its progenitor. Even in a remake, we need more originality and less playing the hits.

Smart, tough and a little bit cool, this is an intriguing opening rather than a slam-dunk in its own right, but the cast - and especially Woodley - make it sufficiently diverting to merit a place in the action franchise ranks.

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

Official Secrets is a timely, ambitious if broad take on a complex subject, but remains engaging and entertaining. anchored by Keira Knightley on great form.

The cast are terrific, but byt he end, the film is struggling to stay together as much as the family it depicts.

What The Phantom Of The Open lacks in ambition or dramatic oomph, it makes up for in easy-going appeal. Anchored by an impish Mark Rylance, it takes its cue from the story’s hero: a bit ramshackle, very amiable, always watchable.

It may be contrived and nothing new plot-wise, but In Fear has atmosphere and enough proper scares to deliver on the promise of its title.

The bones of the story have been played a million times, but a talented and committed cast make this swoonsome rather than samey.

Isn’t It Romantic had us at hello but loses its spell when it has to develop its plot. Not as smart or sharp as you’d hope, it still delivers a lot of fun for those who can’t resist a bad Katherine Heigl flick.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.

Smart, funny and really quite hot, this is worth a look no matter what you think of "Charlie's Angels."

Eastwood is in good, if not great form, Bridges steals the whole show, and Cimino displays a sense of unpretentious fun and appealing grasp of character.

This is Mel Gibson back to doing what he once did best, just older and grumpier. The movie has problems but delivers when it needs to.

The Secrets Of Dumbledore doesn’t quite cast a Potter-like spell — but with solid action and moments of genuine heart, it delivers a little light in the Wizarding World’s darkest hour.

Like its seductress, Anna, it's ravishing to behold while ultimately failing to engage the emotions.

Although sometimes it gets bogged down in the details of drilling, The Hummingbird Project extracts enough entertainment value from an unpromising premise, greatly helped by Jesse Eisenberg finding the humanity in his hustler.

An affectionate portrait of a big-hearted man and a fitting testament to the enduring appeal of Sesame Street.

A gently moving film that's always thought-provoking if at times a little slow going.

Eat well beforehand or you’ll be in tummy-rumbling, tongue-hanging-out agony as the merry band cook their way across America. Good fun and happy, filling fare.

A decent, cogent, greyly atmospheric thriller with something to say about War-On-Terror America.

It'll never be remembered as a Hitchcock classic by any stretch, but that is far from saying it's the mess that some regard it as. It's entertaining, and the visuals speak volumes more than the over-cooked dialogue. Worth a look.

For Freeman's first feature as director, the end result is enjoyable but given his strong roles over the years, somehow more was expected. The equally powerful Glover gives a memorable performance in an interesting film that will inspire and educate.

Fine performances -- notably from Phoenix -- still don't make this an easy sell. But it is atmospheric, accomplished and intense.

There's atmosphere and absurd wit, but the surreal style creates a distance from the characters that's only likely to be appreciated by fans of Maddinís self-conscious artistry.

Unsparing in its portrayal of the seedier side of French society, only Polisse's loose focus keeps it from matching The Class for emotional punch. It's still a worthy companion piece to TV police procedurals like Spiral.

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.

There’s slightly more than meets the eye with Transformers One. While the art style is sometimes off-putting, its ideas are interesting enough to make it a decent addition to the franchise.

There's so much story here that the characters don't have quite enough room to breathe, but it's still a fascinating look at a time, and a man, worth remembering.

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

Fondly conceived but short of that razor-sharp Jane Austen wit.

A likable horror-comedy with a satisfyingly high splatter count.

Directed by Tony Bill and written by Mitch Markowitz, there are far worse comedies than Crazy People out there on the market and Dudley Moore's adverts are, at times, pretty darn hilarious.

Sean Penn's not been this fun since Jeff Spicoli and there's plenty of rip-roaring action, but Gangster Squad proves a minor entry in the annals of LA noir.

Well intentioned and played, this shows flashes of what could have been, but is ultimately let down by its timidity towards the maths, and fails to make the case for its own hero’s greatness.

This lacks the darkness and subtlety that makes the first film so good, and so adult, but its simplified plot and gags will appeal to the under tens.

Looking to cast a spell of its own, The Craft: Legacy tries some new tricks. It’s just a shame that for all the worthwhile additions, it’s sometimes more toil than bubble.

A rerun of the first one but satan junior is now a teenager.

Its mix of coming-of-age and homecoming stories doesn’t fully gel, but Uncle Frank is a funny and entertaining road movie with likeable performances – just brace for a closing dollop of sentimentality.

It’s still a giggle, largely thanks to Tilly’s cantankerous mother (Judy Davis) and the camp local cop (Hugo Weaving).

The drama and tone are powerful and effective and Lawrence makes an exceptionally charismatic heroine, but an almost total lack of action means this is less catching fire than treading water.

Occasional misgivings about Streep's accent aside the powerful performances and sharp script augment this revealing human drama.

A solid bit of high-concept B-movie fun, establishing Josh Hartnett as a credible action hero, and James Madigan as a genre director to watch.

Unashamedly sentimental, but all the better for it.

Anchored by a strong central turn, Nowhere Boy crafts entertaining, small-scale drama out of Lennon's huge-sized legend. It just lacks the spark and ambition of its subject.

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.

Though Davies says this is a celebration of what were the best years of his life — he had a doting mum, nice sisters, and school was apparently okay — you'd hate to see what he'd produce if he were depressed, for the overall mood is heavy and glum.

If Cassavetes' hipster cine-language has lost a little of its age and the innovative improv style won't be for everyone, the themes he tackles, riffed by a masterful group of actors, remain enthralling.

As with "Stuck On You," this is proof that when the Farrellys are involved (even as mere producers), ribald yet humane comedy can be mined from the most potentially offensive sources.

Sprouse and Richardson are proven heavyweights in the young-adult pocket of Hollywood, but this soft-hearted teen romance spreads on sugary sentiment too thickly to leave a lasting message.

If an uneasy mix of humour and sadness never quite gels, its message is clear and its cast uniformly strong.

Not stellar Lynch but still an enjoyable film noir.

Some good performances, impeccable craft and good intentions can’t compensate for a lack of dramatic urgency and emotional heft. The Book Thief is effective, but not effective enough.

An offbeat comedy/drama elevated by another terrific Varmiga turn.

Old School with added poker chips? Perhaps. But this Ferrell and Poehler-powered comedy blockbuster has big laughs, an enjoyably grisly streak, and a film-stealing turn from Jason Mantzoukas.

The plot is one the original writers would have been proud of and with Garner, himself, appearing it gives the film a seal of approval. A rare performance from Foster who is surprisingly funny and Molina giving a good supporting performance, it's an enjoyable family film.

A relatively enjoyable kids' movie that will entertain the kids, but unsurprisingly may leave the adults cold. From the director of The Wonder Years, it doesn't break any new boundaries, but rather sticks with what he knows best, that is sentimental childhood comedies.

With Ember's hydro-electro-punk charms, Kenan's convinced us he's one of Hollywood's most exciting (and excited!) visualists. But on the evidence of this, his storytelling skills still need honing.

Comedy for grown-ups that sometimes struggles with its ambitious brief, but always remembers that the best laughs contain the odd shard of shrapnel.

A riot of confused, clever and dazzling moments, Toys is a true formula-defying one-off for which the phrase love it or loathe it might have been coined, and one so audaciously zany that you will be captivated or enraged.

Spectacular and well-acted, this suffers from much the same problem as the situation it depicts — too many people on the mountain and too many threads to follow so that affecting individual stories get lost in the snow.

Another 'nice' Sandler comedy that works, thanks to some smart and genuinely moving ideas at its core.