1D in 3D: the closest thing to a Shine A Light for Directioners.

Writer/director Jim Kouf certainly knows his police procedures, packing the movie with sharp dialogue and authentic set pieces. Unfortunately, the final half-hour, with its told-you-so conclusion, takes the knife-edge away from what clearly could have been a masterly thriller. Then again, just watching Tupac ponder death on the big screen is probably all the knife-edge you need.

The storytelling is a little loose, but as a workplace comedy with a side-line in romance, this earns its laughs thanks to the immensely game Henson and a stellar supporting cast.

A triumph of art direction, sound design and Gallic phat beats, but could do with a script upgrade and fun.exe patch.

Disappointingly dull account of a tale desperately in need of a sharper screenplay and some directorial vim. Might as well wait for the Blu-ray, Jules.

The plot pulls you along at breakneck speed, so the plausibility of two US leaders on the lam matters not a jot. What does matter, however, is the excellent script which has a kiss-off line at least once every five seconds and keeps the mush down to an absolute minimum.

Slick and solid in moments, Den Of Thieves disappoints with its reliance on easy plotting and gruff, overcooked acting. One for Butler completists only.

Another dose of Culkin charm.

Overdone and not particularly tasteful musical stuff and nonsense.

The first couple of servings back in the day were fresh and fruity, but the franchise has been left on the shelf a little too long. It's occasionally entertaining to have these characters back in our lives, but for the most part this fails to party like it's 1999.

A well-above-average ho-ho-ho-horror film with a shivery sense of winter weirdland and anarchic ultra-violence, it’s also a strong candidate to become a holiday favourite thanks to a perfectly judged punchline.

Punchy and confronting, with another terrific turn from Seimetz.

This has some very, very funny bits...interspersed with a very slight film.

An instantly forgettable, paint-by-numbers romcom, despite the obvious charm of Witherspoon and Kutcher — worthy of watching neither at your place nor mine.

Tinkering with the spy-action wheel rather than reinventing it, this is a pacy, ruggedly entertaining romp, with a punchy pair of lead turns from Gosling and Evans.

This is way more than it seems and manages to surprise and enchant throughout.

Marked For Death offers a very proficient range of bang-and-break antics ending with a neat twist.

If this ‘power corrupts’ potboiler had been made in the 1990s — with, say, Andy Garcia, Gene Hackman and Kim Basinger — it would already have felt old-fashioned. Forget it, Jake, it’s no "Chinatown."

Some likeable performances — and solid Irish accents — can’t save a dreary parade of clichés. Pray that the Lord forgives these cinematic sins.

In the hands of bolder storytellers this could have been a witty take on "E. T."

A lean, atmospheric and acutely creepy little horror pic - nothing more, nothing less.

A TV show expansion that is much better than expected. Kids will be there on the double to lap it up, and adults will find it tolerable, which is about as much as you can hope for. But we won't rest for one second until we find out what's happened to Everest. Bring in Benoit Bark to solve the mystery next time around.

McG has sparked a moribund franchise back to life, giving fans the post-apocalyptic action they’ve been craving since they first saw a metal foot crush a human skull two decades ago.

Like Queen, Bohemian Rhapsody is three parts good but not terribly exciting, and one part absolute joyful, fabulous entertainment that makes you forget everything else around it.

Old friends and new voice talent will delight kids with a never-ending love for the most undemanding animation out there. A megabucks franchise drifts on.

See-saws between straight superhero movie and parody, with layers of soap-opera fudge in between. A lot of solid scenes - but Hancock lacks the power of super-coherence.

A disappointingly straightforward, romance-driven take on a fascinating story of creation, but one that’s lifted by a superb central performance by Elle Fanning.

Both the well-choreographed crash scenes and the gritty cinematography hint at a better film. Shame no-one took the time to make it.

A star rating is not much help, since von Trier’s self-conscious arrogance is calculated to split audiences into extremist factions, but Antichrist delivers enough beauty, terror and wonder to qualify as the strangest and most original horror movie of the year.

Too glossy to evoke real sexual tension or, more crucially in this genre, fear, Laura Mars suffers from the over complication of something so simple as serial killing.

The action is first-class, and Brad Pitt and Aaron Taylor-Johnson are having a blast — but with all that hyperactive style and cartoonish violence, you’ll be ready to disembark by its final destination.

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.

Light on laughs, and even lighter on drama, Kyle Mooney’s throwback high-school romcom/tech-horror shifts uneasily between its various modes and tones, but never finds its groove.

Minus a couple of brisk, black laughs, this hollow remake botches the twists and sucks the fun right out of its feisty source.

Amsterdam suffers from a surfeit of story detail without the vigour to whizz you through it. It has likable leads and the craft is on point, but the result, given all the talent involved, is a tonally uneasy disappointment — a romp that fails to romp.

What lifts this at key moments is the outstanding Phoenix's simpatico performance and we can add to the credit side happy casting that for once has assembled actresses and actors who really do resemble each other and present plausible siblings.

Dynamite action. This is a good bet for a night with the lads. And weedy girlies can at least wake up every ten minutes when Denz takes his top off.

Former pop promo director Sena knows how to give a glossy sheen to the blank surfaces and rough edges of roadside America, but the results look cheap and shoddy rather than seductively challenging.

Like a lot of remakes, Downhill doesn’t quite make the argument for its existence. But career-topping performances from Ferrell and Louis-Dreyfus and an unusually frosty comedic tone make this a mostly rewarding day on the slopes.

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.

Witty and moving, this is a low-budget Brit triumph that marks its director as a talent to watch.

Either choose to dwell on Little’s formulaic storyline, or be charmed by the confident comedic performances of its three stars. One will lead to an infinitely more fun time at the movies.

It is a noble aim, and Reynolds drenches his movie in earthy, muddy tones.

It’ll pass the time easily enough for young viewers, but everyone else will wish they were spirited away on a more sophisticated adventure.

An amazing exercise in character development which successfully shows the character as they were in the first film and as they are now. It is flawed in the basics, but often delightful in detail.

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

As an outing to complement study of the book the film is worthy enough but curiously less than the sum of its parts.

It’s easy on the eye, and indeed the brain, but this is nowhere near as sharply written or plotted as it should be to bring these characters to life.

It’s no masterpiece, but this is a promising debut from Boone and a good showcase for his entire cast.

Overlong and often overcooked, this is nevertheless a relative return to form for Diesel as the fiendish Furyan.

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.

It livens up a bit in the last reel when Fogg’s inventive brain pulls out all the stops to try to win the bet, but by that point you'll be too jaded to care.

A typically engaging performance from Johnny Lee Miller takes this slightly above the usual underdog movie cliche.

Sugary enough to induce immediate diabetes, this is not one for cynics.

Mortensen is on top form - twice over - but while the noir mood gathers like a black cloud, the story frustrates.

Gorgeously realised, gripping and doused in De Palma’s familiar technical wizardry, this is only let down by the director’s equally familiar uninterest in the humanity of his characters.

A confident, ambitious and action-rich Brit thriller, albeit one whose characters and clarity suffer from the frantic intensity of its pacing.

Despite the ridiculous premise and casting this is still a pacey little sci-thriller.

Mark Felt is a lacklustre staging of a fascinating episode in recent US history. Despite Neeson’s strong presence, this is a deep throat that never finds its voice.

Predictable and pleasant, with enjoyable performances.

This game and glitzy American redo of a British comedy great contains some fun and thrills but never quite explodes into brilliance. One to consider rather than run to.

Parker has a sensitive approach to the crise d'amour, but his lacklustre leading ladies contribute to an uneven tone.

Wringing the last drops out of the idea, it strains to stay on-side, but it remains true enough to the spirit of the series to get it over the line.

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.

Not all Saturday Night Live sketches succeed in the transition from small screen 5 minute slot to hour and a half, with CB4 a fine example of one with mixed results. Rock and his group do well in mocking not only the blacks, but whites and all number of classes along the way, except the story doesn't quite manage to hold it's own as the joke begins to tire after the first hour.

The third Despicable Me film chronologically is also the third-best in terms of quality. But it has just enough energy and flashes of inspiration to suggest it’s a franchise that could run and run.

Decent premises and the promise of Billy Crystal pale in a film that fronts up to, then whimpers away from, the prospect of leaping out of its genre's boundaries.

Though slightly marred by a clunky structure and a lack of truly catchy tunes, Nine’s wall-to-wall first-rate performances from its stellar cast (especially Cotillard) add a touch of class.

Outrageous and endearing, the Zombieland team swaps horror for crime in a daft caper that's undoubtedly slight but terrifically entertaining all the same. Very fast and lots of fun.

Reasonably entertaining but hectic (supposed) finale for the up-and-down series.

There’s a little bit more polish this time, but for all the talented people involved, Let There Be Carnage still has the whiff of a turd in the wind. 

It works as a suspense-building scare machine, given heart and depth by Olsen's performance - though it's still an effective exercise in misdirection rather than a strikingly original vision, and now it's a remake of an effective exercise in misdirection.

This ankle-deep story has a cheekful of tongue, providing opportunities galore for hammy, quick-draw melodrama and the perfect vehicle for Ms. Stone.

Better than "The Transporter" but not as much fun as "Crank".

Impressively nightmarish.

Pleasant, forgettable.

A drama of upper-middle-class menace that can’t quite bring itself to be a full-on slasher movie, this has a few too many clichés but offers some creepiness and decent performances.

Overlong, it'll most likely try the patience of audiences now accustomed to a bit more bang for their buck, but it's a great deal of fun for those with a penchant for old-style action.

Engaging turns from Anderson and Isaacs can’t elevate a narrative that ultimately goes nowhere, although it might make you want to get the tent out of the attic at long last.

Certainly not your standard music flick, Ebony & Ivory is challenging, abrasive and utterly, utterly odd. But if you’re on Jim Hosking’s weirdo wavelength, it’s a demented delight.

Nothing you haven’t seen done better elsewhere, this one’s a missed opportunity. McConaughey’s hard work is impressive, but that’s the only message Gold is interested in conveying.

Son Of A Gun has the gritty, rough feel of 1970s heist/hit picture

The Front Room features a remarkably funny performance from Kathryn Hunter as a mischievous mother-in-law, but its tale of lurking danger remains malformed.

It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.

A very unfocused, sporadically funny film, lifted by its (predictable) visual splendour.

A handsome period drama with the occasional impressive flourish, but despite its rich subject matter, it's Affleck’s weakest film yet as a director.

Sometimes the storytelling can feel like a stretch, but this is mostly a lively, well-told account of a bizarre toy craze gone wrong, and the big personalities behind it.

it is intermittently very funny.

If it doesn't make you at least giggle, then you clearly don't understand the true meaning of the festive season.

It's good to see Harlin back in the mountains, and while this isn't on par with Cliffhanger's thrills and spills, it's a smartly-executed little whatdunnit.

Jennifer Aniston lifts an addiction drama with a committed but never showy performance. It’s a pity the rest of the film can’t cut as deep.

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.

The major fault in Exorcist III is the house-of-cards plot that is constantly collapsing.

A great cast and promising premise get swamped in an awkward mix of airport-novel noir and blokey family melodrama.

Slickly produced but seriously stupid, Tournament Of Champions won’t exactly have you running for the exits — but your brain cells might not escape the room intact.

With a predictable central story, what might have been a distinctly average film is greatly improved with stellar performances from Garcia, Thurman and, in particular, Malkovich as well as some incredible cinematography that keeps the atmosphere tense.

Peet works hard with the slight material and there are some cutely kooky moments.

Golda lives in the shadow of the film it wants to be, but Mirren’s warm performance and the claustrophobia of it all make it linger regardless.