Funny, whimsical and as warming as a big bowl of Irish stew.

Powerhouse performance from Richard Burton but a little too old to play the angry young man stuff that is essential to this tale.

There’s little interest in probing characterisation, but the plot progress is steady and the performances likeable.

Though low-stakes for an adventure film, this is nonetheless an engaging, found-family eco-fable that imparts an important conservationist message with considerable, at times impressionistic, style.

An intelligent thriller that effectively conveys the message that terrorism, even in apartheid-era South Africa, is rarely a black-and-white issue.

So horrifying it caused a number of hardcore journos to storm out of its Sundance screening, btu if you've got thick, thick skin, you might find something here.

Fear, a sort of pubescent Fatal Attraction, is derivative and often risible, in the competent hands of Foley it's also highly enjoyable.

A decent, mid-list spy thriller, suspended somewhere between le Carré and Bond but with a budgetary austerity in keeping with UK government spending cuts that keeps it out of the real high-stakes game.

A respectful look at the rise of the world’s biggest musical sensation, from her own perspective and those closest to her. A treat for fans, but too conventional to fully do justice to the extraordinary phenomenon.

Sadly Lewis lite and not without flaws but this is as Burtonesque as one could wish for, a real treat for fans of his twisted imagination and great British character actors.

Howard the Duck manages to be two or three types of fun: as a crazy comedy, it has some good risque/sick jokes to go along with its messy slapstick and bland rock music; as a monster movie, it has an outstanding performance from Jeffrey Jones as a scientist-cum-monster and an astonishingly repulsive Dark Overlord of the Universe shows up for the exciting climax.

It’s a mix of impressive on-location cycle spills (the roaring-down-the-empty-road opening is still a grabber) and embarrassingly hokey rumbles on obvious poverty row sound-stages. Lee Marvin is superbly grungy as a supporting troublemaker, and his character doesn’t sell out by reforming for the love of a weedy but decent woman.

Too long, and too wrapped up in its various plot contrivances to notice it’s veering off course. But Jack just about pulls the wheel back, aided by Verbinski’s flair for cartoonish comedy action.

This is not a perfect film, but it handles the important stuff — abuse, trauma and recovery — unexpectedly well. If its reception is anything like the book’s, it will be a powerful vessel for people with similar stories of their own.

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.

The comedy is hit-and-miss but this is a vibrant, watchable movie.

All is very much what it seems from another one of these all-is-not-what-it-seems thrillers — but there are fun, enjoyably unhinged performances from Edebiri and Malkovich.

It seesaws between disturbing psychosis and freewheeling nouvelle vague romance, then turns awkwardly editorial in the last reel.

It’s comedically uneven and overly distracted by side-characters, but when Clerks III gets to the heart of Dante and Randal’s decades-long friendship it’s enough to assure you that Kevin Smith is still open for business.

A barbed study of the American economy puts capitalism in the dock but somehow fails to convict.

Scabrous, watchable and deceptively provocative, Jon Stewart’s political parable may be slightly out of step with the political reality of 2020 — but Carell and Byrne do enough to earn your VOD vote.

Entertaining satire from a talented cast.

Somehow less than the sum of its very impressive parts. Massy Tadjedin brings out the best of her strong cast but all the eyeball-melting beautyon display and the highly polished treatment of the story could have done with a touch of authentic grit.

This has many more plus points than critics at the time were willing to admit.

Murray’s finest, funniest, meatiest performance since "Lost In Translation" — just a shame it’s contained in such a lightweight dramedy.

Occasionally lacking in context but never less than intriguing, Jarreth Merz's polished film is a handy document to a rarely visited democracy.

A startling performace from Findlay doesn't quite make up for a disappointing third act.

An over-eager, idea-stuffed debut that keeps you engaged with its surprising twists, but which nevertheless could have used a little pruning.