Affleck's meta-satire riffs amusingly on celebrity culture without hitting too many faux-doc highs.

Truman & Tennessee: An Intimate Portrait’s staid approach doesn’t always cohere into a gripping yarn but it is detailed, boasts a real feel for the fiction and, in-between the two men’s rampant viciousness, emerges as undeniably poignant.

Oak solid and unsinkable, Master And Commander is old-fashioned entertainment crafted with considerable care; but compared to "Pirates Of The Caribbean's" pleasure cruise, this voyage is choppy and difficult without ever troubling deeper waters.

Kusturica is sturdier on style than substance.

Lee's film suffers from message over substance and is slightly tedious as a result.

At two hours, something as thin and unexceptional as this, is just too long. The result is that all the running gags run out of steam and there are far too many fudgy bits between the comic highlights. Nevertheless, lightly likable.

JT LeRoy is a decent telling of a fascinating, resonant true story. If it never really fulfils its promise, it’s worth it to see two major talents — Kristen Stewart and Laura Dern — in full flow.

Audacious, yet sensitive, Fire may shock traditionalists but is the sort of film that ought to win Indian cinema a whole new audience.

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.

A fun diversion for the kids, but you feel Attenborough could have packaged these often beautifully produced images with more rigour and insight in under an hour.

For much of its slowburn build there is a classy, intelligent thriller at work, something closer in tone to The Odessa File. Still, you must remain guarded to how over the top and quasi-horror events will finally turn.

It also takes too long in the final act to write itself out of its plot entanglements, and ends up looking rather too pleased with itself.

So the boy can act -- this is the best thing he’s done.

A little heavy-handed with its moral messaging, this is nevertheless a self-deprecating and diverse tale of discovery. Michael Peña’s take on rave culture alone is worth your money.

Occasionally irritating farce but inventive and boasting an endearing as well as laugh-out-loud performance from Murphy in and out of fat suit.

It’s a small, lightweight picture but Good Posture is alive to the messy realities of becoming a grown-assed adult, becoming more charming and involving as it goes on. It also suggests a bright future for writer-director Dolly Wells.

Michael Bay’s tribute to the emergency services (which involves blowing several of them up) is noisy, messy and frequently absurd — yet still somehow his most gleefully entertaining effort in at least a decade.

Like most kittens, it's not always perfectly behaved, but at least this new Puss adventure doesn't have you reaching for the cinematic spray bottle. And thank goodness the spin-off does nothing to neuter the charismatic cat's appeal.

A fitting — and frustrating — end to an extraordinary career. Ken Loach’s powerful, poignant storytelling is occasionally stymied by his less subtle impulses.

Dream Horse is predictable and manipulative to a fault but, sparked by Toni Collette, there is a strong sense of sincerity and commitment to the subject matter that helps it across the finishing line.

Much slimmed down in a canny script by W. D. Richter, it has become a value-for-money horror movie with a streak of welcome black comedy.

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 fire scenes are terrifying and may well sear themselves into your brain, but however well-intentioned, the human element is less involving than the disaster they must endure.

A truly unique fantasy, McKean’s screen debut is tangled but promising.

Robustly acted by a superb cast and with some beautiful moments, this follow-up to The Father nevertheless feels less mature and less sure of itself.

The script self-destructs, but the performances — including Daniel Stern as an expendable sidekick — are fun, and John Badham stages some super stunts with the insectile title machine.

What a peculiar but effective children’s adventure movie this is.

Its magical denizens too often look and feel like out-of-season pantomime characters, but there’s just enough heart and humour to make this enchanting.