Allen’s films have always had a feeling of melancholy to them, but this -- the first film Allen has written after the fall of the Twin Towers -- harbours a sense of dark unsettlement amid the neurotic romantic comedy.

You will jump out of your seat then wince at every kill, but you won't leave the cinema thinking you've seen a classic. Which is a crying shame.

The gags swing between mildly inventive and screamingly obvious, but even the latter are performed and timed well enough to draw a laugh.

There are some poignant moments, but Steven's decision to shoot a claustrophobic movie in CinemaScope and the stage-bound feel of the whole enterprise never bring the action to life.

Like all sieges, this offers moments of choppy terror and excitement followed by dull sit-it-out-and-starve spots. Straddled between uproarious schoolboy tosh and serious historical movie, this still offers enough dismemberments, royal tantrums and portcullis-rammings to make for a lively Saturday night out.

A bit silly really but it has a bizarre mix of a cast and some tension in places.

Macdonald's film is a noble stab at bringing Meg Rosoff's YA novel to the screen, which sees Ronan in typically watchable form.

A pleasant package then, easy on the eye, and gently charming but, like The Brothers McMullen, one which places Burns as a comfortable rather than cutting-edge moviemaker.

The structure similarly misses the flashbacking subtlety of the original. Even the characterisation lacks depth.

It delivers in fits and starts but mostly baffles.

Great performances lifts this movie above its stilted script and production.

The mix of light comedy and really quite dark themes proved too much for many viewers, but this is worth a look for Broderick's performance and Carrey's obsessive touches.

The effects may have dated, as have the Cold War themes, but the almost real time adventure still has some tension to offer.

It’s bleak and understated, but strong performances and a thorny moral maze give this considerable power despite the gloomy skies.

After the success of Wayne's World, much was expected from Myers and this is a distinctly average comedy which failed to deliver. He is enjoyable as the neurotic Charlie as well as his father but the concept itself is just a little too unconvincing.

The creatively gory fighting and amusing — if shallow — characters just about compensate for the paper-thin story. But at its best, it’s a lot of dumb fun. 

A bold and sometimes garbled take on modern American politics, this nevertheless marks an effective and surprisingly funny comeback for a film that many deemed to be DOA.

A late entry in a crowded field, Spiderwick works hard to set itself apart from the competition, and almost entirely succeeds - no mean feat these days.

A remake that doesn’t see the legacy of Carrie White burn in hell. But not one that adds much to it either.

With an uncompromising attitude to complex plotting and graphic content, Red Sparrow is a promising beginning to a potential new spy franchise. Just be aware of its unexpectedly barbed edges.

It's nothing more than an enjoyable, ridiculously macho B-movie romp, but it's derson' best movie since the underrated Event Horizon. Perhaps, at long last, he' starting to find his - yep - top gear.

You'll be left as much in the dark as the director about the personality traits that inspired the loyalty of three strong, intelligent women towards this self-centred, physically-resistible enigma.

A film more concerned with 'how' than 'why' or 'who', Valkyrie would have benefited from more scrutiny and complexity. Still, once the bomb goes off, the thrills come in spades.

Bruising battles and some stirring performances make Troy enjoyable, if rather long. But if audiences can forgive the camp, they'll still struggle to empathise with the characters.

More potent as a cautionary tale than future noir, Anon’s digital dystopia certainly gets a Like, even if it doesn’t quite warrant a Share.

Successfully mining the awkward humour of the adolescent experience, Karen Maine’s coming-of-age feature makes the most of a strong central performance from Natalia Dyer.

The tale from the past is very nostalgic, heartwarming and mouth-watering and all, as Idgie and Ruth cook up a storm, are kindly to their black domestics and stand up to piggy men while events fitfully progress to a courtroom climax. And Masterson is a peach. But the best bits belong to Bates as her dreary Evelyn raises her consciousness, lowers her weight and starts speaking her mind. It's a nice, pleasant celebration of friendship, but without much meat to chew on.

The real nun in the movie is the heroine, played by a spirited Taissa Farmiga, and the dramatic weight falls on her able shoulders.