Working off source material that is very different from its predecessor, anyone expecting a straightforward Shining sequel will be disappointed. This isn’t a gruelling exercise in pure horror. It’s odder and more contemplative, but worth checking in.

Slightly jerry-built reconstructions detract from an intriguing film with a unique angle on the country legend.

An exuberantly bad-taste ode to our poochy pals. Dumb & Dumber, but for dogs.

A hard-boiled version of Rocky, with enough anti-Balboa brutality to keep our interest.

A mighty actor, a smart play, a clunky adaptation.

Thoughtful, emotional and often surprisingly funny, Terence Davies offers a rich if inconsistent portrait of a unique poet long deserving of a big-screen study.

A pleasingly intricate double (or is it triple?) revenge plot anchored by excellent acting, with a terrific burst of action at the climax.

If it thematically bites off more than it can chew, Random Acts Of Violence is a full-on, visually arresting horror. What it lacks in chills, it makes up for in ambition and style.

Nice performances, a useful script and a dignified ending all boost this film's appeal, but it is the workable simplicity of the premise that really does it.

'Highbrow' might be the best way to sum it all up. Interesting and stimulating, if not always successful.

If you hear the Rocky theme and think '118 118', you might wonder what all the fuss is about. For the rest of us, this is a reminder of why we fell in love with the character in the first place.

The story of how Flamin’ Hot Cheetos came to exist barely demands to be told (if it is even true). But like all good junk food, there are still some guilty pleasures to be had here.

Over-familiar and the first half's pace is sea-sluggish but with inspired touches.

The first Fred and Ginger feature is a little clunky and short on plot and character but a beautiful and atmospheric treat for all that.

Not Woody Allen at his best, this period piece has some clever writing but is not completely convincing.

Wicked: For Good, sure — but not quite Wicked: For Great.

It loses sight of its own heroes amid the hustle and bustle of its wildly entertaining environment, but Zootropolis is still a blast to visit for a couple of hours.

A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal.

Like Driving Miss Daisy this deals with a white employer and a black servant in the times of revolution, not only that but in both films it's a jaded view with the servant being loyal and not a 'friend'. Besides that small problem, it's a moving film with a steady performance from Spacek, but by the end it has definitely become Goldberg's film.

Okay, it doesn’t have an original bone in its body, but forgetting the awful title, Sex Drive has its share of snappy lines and decent gags. It’s also got Seth Green and James Marsden on cracking form, which should never be underestimated.

Scott Lee gives a surprisingly strong performance as the Inuit who falls in unrequited love with Albertine. If you can overcome the almost-too-coincidental fact that they are assigned to the same Air base several years later allowing them to be together again then this pleasing romantic drama could just be for you.

With Clooney and Roberts cranking up the charm, even the creakier elements of Ticket To Paradise are watchable. A warm, witty, welcome escape from reality.

It’s ragged round the edges, but then Fritz Kiersch is working with a budget Roger Corman would laugh at, and he does a good job.

If you like E.T. and Bumblebee, chance are you’ll have a good time with this slightly homogenous but sweet-natured kids’ adventure.

A compelling idea delicately handled and neatly played, especially by Bullock. It just lacks the emotional directness to turn the good into the great.

Drags in places and deosn't even try for a true-to-life portrait of the great theatre entrepeneur but it's shiny and big spectacle with impressive choreography.

Despite Lumet's home-spun pincer movement on the espionage/conspiracy genres, cliché still sneaks up and nips the film into submission.

A gentle, enjoyable musical fable.