A smart, compelling, pared-down thriller for grown-ups, anchored by a pair of stunningly charming performances from Chris Pine and Thandiwe Newton.

This is a clever premise stretched perhaps a little too far.

Unnervingly, it is both hilariously funny and quite disturbing, with Allen's neuroses and fixations manifested in some shocking ugliness and intimately personal revelations we'd rather not have seen confirmed.

McCormack, Grant and Delpy waltz with flair in this stylish if unoriginal slow-burn thriller. Best consumed with a large glass of red wine and one’s tongue in one’s cheek.

There is a tender resonance in its cheesy sports drama operating with all the obvious moves.

The plot is one the original writers would have been proud of and with Garner, himself, appearing it gives the film a seal of approval. A rare performance from Foster who is surprisingly funny and Molina giving a good supporting performance, it's an enjoyable family film.

In spite of a catalogue of downsides, including clunky dialogue, fuzzy morals and preposterous story lines, G.I. Jane does offer a perverse level of enjoyment.

A little too derivative to truly stand out, but gorehounds will love it. Don’t a void.

An intriguing rites-of-passage story with a delirious, skewed perspective and an almost palpable sexual pulse.

It falters in the middle and hesitates unnecessarily in setting up the love story, but Gru still has charm and kids will adore the Minions.

From the astonishing studio sets and (Gaultier-designed) costumes to Gambon’s performance (so ferociously wicked that it beggars description), Greenaway attacks his targets with a sadistic obsession that is, frankly, terrifying. Many people will be profoundly offended by this film — by the monstrous misanthropy that Greenaway lays bare through it, by the spiteful images of women in a vicious world — but some may appreciate it for what it certainly is: the most startling depiction of intellectual cruelty and evil for many years.

Has something for everyone.

The unfamiliar young cast all show a lot of potential in a well-thought-through, sting- in-the-tail plot. It’s a well-assembled genre movie rather than a great statement, but none the worse for it.

Strange and surreal but with moments of real beauty.

A rolicking good time is had by all in this adventure that is built on archetypal plot strands that tie together oh so well.

Check behind the doors. Switch on all the lights. You won't be sleeping soundly for a while.

It starts off very sprightly and witty and maintains a high giggle-count throughout.

Theroux’s first big-screen doc is an entertaining affair, peppered with surreal moments and wry wit, but its elusive subject remains out of reach.

As derivative as it all may be, it’s still superb entertainment.

Interesting portrait of the shallow nature of fame but overall this fails to engage on an emotional level.

Baz Luhrmann takes the audience on a unique ride through one of the Bard's best-known texts, illuminating the story, occasionally subjugating the language but always delivering a vision that is bold, brassy, hugely inventive and accessible and, in a strange way, just right.

Despite feeling narratively let off the leash, Last Exit retains the passion of the novel, as well as the switch-blade characterisation.

Another solid hit from Planet Apatow - charming, funny and remarkably in tune with real life.

Not quite ‘Ready Player One Star’, but this is an odd duck: a Black Mirror-ish concept played for laughs, which ends up getting tangled up in its own code.

Spielberg's technical ability is very clear, with much to appreciate on close examination.

It’s not trying to reinvent the romcom wheel, and its final bow could be predicted by anyone with half a brain — but I Want You Back is sweeter and more sensitive than you might expect from this kind of broad mainstream romp.

Jeunet himself describes the film best: Delicatessen meets Amélie. But we'd add that, while it's certainly breezy fun, it's not quite as good as either.

Eastwood is in good, if not great form, Bridges steals the whole show, and Cimino displays a sense of unpretentious fun and appealing grasp of character.