Already a hit in America, 42 is a well-told but square biopic doing justice to Jackie Robinson rather than exploring him.

It’s not a classic, but this colourful combination of Halloween and Back To The Future is undeniably a scream.

A neo-realist fairy tale that charms without losing sight of its key themes of exploitation and truth to one’s self.

Ruinously prioritising chic over content, this is intellectually and stylistically shallow when it should have been dynamic and compelling.

It picks up in the last hour, though this is a very minor compensation in an otherwise long and listless film.

Edwards’ film boasts great filmmaking, noble intentions and cracking monster action. Yet it never reconciles its B-movie origins — preposterous premise, clichéd characters — with its solemn, Nolanised tone. This Godzilla stomps but very rarely romps.

Funny, sad and horrifying. Anti-fundamentalist rather than anti-Christian, this deserves to preach to more than just the converted.

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

Despite all the confusion, it's a simple case of the script being too ambitious. It may emulate a man experiencing flashbacks, but it doesn't help the audience.

Unpredictable and compelling, this draws parallels between Japanese and German cultures in interesting and moving ways.

An unlikely but effective found-footage horror from Goldthwait.

Family dysfunction to make Jeremy Kyle blush, but thanks to McConaughey's oily power and Friedkin's unflinching purpose it's a compelling beast.

It would like to be "Traffic" with guns, but comes out more like "Blow" with bullets.

With a slew of body swap films in the late 80's it was expected that this would be another one to fall by the way. Except with a promising script by newcomers Rene and Craig and strong performances from Ryan, Baldwin and Walker, it manages to be more memorable than most.

It's a tale that subtly reinterprets the genre and delivers Jarmusch's most accomplished, if not necessarily his most accessible film to date.

A near-irresistible Friday-night-out monster picture in the tradition of Lake Placid or Tremors, with a boozy Irish charm that makes it a distinctive addition to the catalogue of alien invasions.

Though the film looks dated it contains great use of English countryside and a couple of genuine chills.

Deliberately provocative, infuriatingly melodramatic, this is a film that begs not to be taken seriously, and requires a ready suspension of moral discernment for maximum enjoyment.

A triumph of painstaking technical prowess and stunning visuals over storytelling and dialogue. See it for its nuanced take on a huge cultural figure and to applaud its astounding audacity.

It’s long and sometimes gets swept astray by currents of family drama and period detail, but Ridley’s plucky determination and can-do energy carries the whole thing along. The result is an old-fashioned inspirational pleasure.

It's in the animal capers that Disney's skill really comes into play, as stunning wildlife photography combines with an Incredible Journey-type treat-animals-as-furry-people attitude to the narrative, transforming an average adventure film into a humorous, dangerous and immensely watchable movie.

Begin Again is a joyous movie about the good things in life: love, family, relationships, New York, creativity and music. And Knightley and Ruffalo make for one of the most unusual engaging couples of the year.

It's enjoyable and visually impressive, but this is a slender trifle of a film, one which charms you as you're watching it and then is all too quickly forgotten.

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

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

You can beat the house and you can break the bank, but sequels always get long odds on defeating the law of diminishing returns – yet Ocean's Thirteen just about pulls it off.

A loose, hurried ending can’t quite live up to the effective sense of dread created in the first two acts, but Amulet is still a fascinating, nightmarish debut from Garai.

Paul Schrader's intense drama pulls out all the stops.