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

Very dated farcical comedy but Peter Sellers is charming despite the anachronistic character-humour.

DJ Audrey Wells' crafty screenplay brims with truths about the sexes, providing great lines for Garofalo, and great business for Thurman's confused waif, and cranks the feelgood factor up so high it's almost off the scale.

Even if you think you've seen this story too often, Big Bad Wolves will surprise and enthrall. A thriller which bites deep, it has a light touch which finds humanity even in the worst horrors.

An admirably unsentimental biopic with an excellent central performance, but it doesn't impact as strongly as it could.

The dogs, whose individual personalities shine through without recourse to crass anthropomorphism, are superstars.

Though it can be predictable and a little simple, The Bad Guys 2 smooths over some of the frustrations of the first — bringing a sharper and (slightly) more mature sense of humour to its compellingly cartoonish animation.

One of the most compelling stories of the #MeToo movement is told unflinchingly, empathetically and authentically, with Charlize Theron completely nailing the knotty character of Megyn Kelly.

If not a star-making turn, Mbatha-Raw's tough, tender performances should give her plenty of opportunities in sharper fare.

This isn’t an atrocity on the level of, say, Rob Zombie’s Halloween — but it is a horror designed to test your patience rather than your nerves.

Not up there with the best King adaptations, but a fun Gothic yarn that, like all good ghost stories, is simple and dripping with dread.

The premise sounds like an off-Broadway play gone wrong. Far from it — this is extraordinary, vital, and fuelled by great performances.

An informative but incomplete look at Whitney Houston’s life and death, this will frustrate fans as much as it fascinates them.

Funny and scary - and sometimes both at once - it lives up to the original, even if it fails to surpass it.

Anchored by a dazzling turn by Samara Weaving, Ready Or Not brilliantly fuses thrills, satire, laughs and horror. Don’t count to 100 — just go and see.

Disappointing third act to this brave drama about love and sex in our later years.

An Alpine study of ageing and creativity that’s as fresh and bracing as the mountain air, although occasionally just as chilly.

A dreamy but tough ensemble indie that delivers its existential angst with a straight-up Aussie drawl.

Important, but it echoes a better film - The Texas Chainsaw Massacre.

Not one of Hitchcock's best, but with a few creative sequences and some sharp writing from Dorothy Parker.

Hawke is compelling, offering a magnetic portrayal of an exasperating but deeply charismatic, engaging figure.

The sight of the Muppets making their first movie appearance since 1992's Christmas Carol - with no technological wizardry or flashy special effects applied to update the simple but effective puppetry techniques - proves to be a sobering experience. And the attempt of Jim Henson's bug-eyed creations to keep up with the times results in a breezily entertaining yet old-fashioned brew.

Worth a look, if only for the surreal groupings of the gangs (The Wongs, the Del Bombers and the Fordham Baldies...that's right, they're bald).

This is everything you might expect of a Baz Luhrmann biopic. It’s brash, loud, maximalist, and certainly never boring, but also keeps its subject at a distance, enthralled by his glamour not his soul.

Gregg Araki's sci-fi is a weird and, just occasionally, wonderful skew on the college comedy. Slight but fun.

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

A satisfaction conclusion to the trilogy.

Scott's take on Napoleon is distinctively deadpan: a funny, idiosyncratic close-up of the man, rather than a broader, all-encompassing account.