Often funny, outrageously vulgar in places and very, very French.

An unsatisfying conclusion, but an inspirational story deftly handled by Freeman.

Hitchcock's penultimate film deals with many of his previous themes with typical grim comedy and insight into a psychopathic killer's mind.

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.

The marriage of abstract existential themes, immersive, tactile images and dual timelines is always impressive but only occasionally moving.

An ultraviolent Korean crime film with plenty of swagger and visual brio, but still too generic to really stand out from the pack.

The Kids Are All Right writer Stuart Blumberg's first directorial effort is a frothy affair with typically strong turns from Ruffalo and Paltrow.

Aesthetically beautiful and superbly acted, a sure sign of things to come from the leads.

Creed II is to Creed what the Rocky sequels are to the original: a more generic, less textured take on familiar boxing movie tropes. The difference, it seems, is Coogler.

The witty, loquacious Cocker is watchable as ever and the gig scenes will thrill Pulpers.

Despite being occasionally hilarious, director Goran Dukic should have toned down the wackiness.

This never reaches the heights of Rudolph The Red-Nosed Reindeer or The Snowman in terms of classic seasonal fare. But there are a lot of laughs lurking within the shiny 3D wrapping and snow-covered silliness.

Not only do the pair have to prepare for the upcoming race, but, hey, they also have to deal with a hysterical mother, a dying father, and the knowledge that one brother is destined for the same fate as pops. Not quite as sickly as it sounds, with a fair few hints of the onscreen magnetism to come.

It goes nowhere fast and Kechiche’s camera consistently ogles his female cast but he remains a terrific director of actors, the intimacy and authenticity conveying a real lust for life to sweeten the hefty running time.

It’s a lesser Jarmusch, yes — but it’s still a Jarmusch.

The forceful imagery and acute sound design make Natural Light worth surrendering to, but a frail narrative may leave you feeling like you’re in no man’s land.

A by-the-numbers boot camp drama elevated by resonant emotional truth and seen through the revealing lens of all-too-lived experience.

Superb supporting performances from Polley and Baulk go some way to making up for our hero's lesser qualities.

A potentially trite tale of an unlikely relationship is lifted immeasurably by Sophia Loren and is best viewed as a testament to the true power of the movie star.

By no means the disaster many might have expected following its years-long delay. You’ll like it. Not a lot, but you’ll like it.

Once the pop sensibilities are out of the way, this clever foursome becomes more than the sum of its part.

It feels terrestrial rather than cinematic, but the joy of Trumbo is in the heroism of its subject and an amazing performance from Cranston.

Jellyfish is a familiar but compassionately drawn portrait of hardscrabble lives, centred by a terrific performance by Liv Hill.

The action is enthralling even if the storyline doesn't always have the ring of truth about it.

Delivers an effective double-sting ending.

John Woo’s first American film in 20 years is not the filmmaker at his peak — but it has its moments, with energetically filmed action enough to distract from a melodramatic tone and sometimes silly concept.

Not for everyone, but fans of Dario Argento will find plenty to like about this otherworldly study of sex and sensuality.