It’s messy, with a middle section that sags, but Birds Of Prey has vibrancy, anarchy and balls to spare. Harley and Joker are dead. Long live Harley Quinn.

With a predictable central story, what might have been a distinctly average film is greatly improved with stellar performances from Garcia, Thurman and, in particular, Malkovich as well as some incredible cinematography that keeps the atmosphere tense.

A sportsman biopic that concentrates more on the man than the sport, this offers food for thought for those who can stand the languorous pace.

A competent procedural rather than the ground-breaking cybersaga we’d hoped for. But as with Miami Vice, Mann’s boundless style does a remarkable job of disguising the lack of substance.

It might follow a linear storytelling path a little too strictly, but Sylvester Stallone is a bracingly honest documentary subject, and fans in particular will take much from this look at a life and career well lived.

A solid, bare-knuckle action-thriller.

It’s no masterpiece and admittedly slight at 85 minutes long. But Idiocracy is that rarest of things in this age of lazy laughs — a gutsy comedy with something to say. More importantly, it’s funny.

Madder than a bag of cats. Quentin Dupieux’s latest is even more absurd — and more pointless — than his film about a sentient car tyre. But it’s cheering to know he is still being allowed to make this sort of bollocks.

One of the most legendary tear-jerkers of the 20th century.

Wonderful to look at, this is a more adult, more complex affair than its animated, and more entertaining, forebear. Still, it’s Disney’s best live-action adaptation yet.

The Neon Demon pulls off the unique feat of being both boring and bravura all at once. Like the world it depicts, it’s a feast for the eyes but little else.

More sentimental, less spiky than Mihaileanu's stock-in-trade, Le Concert is an enjoyable take on the underdogs genre. And Laurent and the music are sublime.

It’s a promising idea that starts well, and although it starts to flounder by the end, Kunis and McKinnon do sterling work making sure it never completely runs out of energy.

Guy Ritchie’s defiantly ahistorical romp is part derring-do spycraft, part bullet-riddled action, part impish comedy, and all-parts silly.

This is actually better than it may sound, though rather less charming than it would like to, and needs to be.

Exasperatingly trite, but also rather sweet.

Jennifer Aniston lifts an addiction drama with a committed but never showy performance. It’s a pity the rest of the film can’t cut as deep.

Technically ambitious, dramatically basic. Still, it's a major step up from an AvP sequel and delivers all the Saturday night whizz-bang and Sunday morning brain-ripping you could want.

A largely inventive and energetic portrayal of a past-their-prime music legend that’s let down by its unnecessary trad biopic beats.

While not the balls-out action movie the marketing suggests, this Rock-powered family drama is not with its moments.

Ostensibly, a lovingly made study of homemade cooking and old-fashioned values, this beautifully played drama also contains a mordant denunciation of the lack of compassion that shapes Japanese attitudes to social stigma.

Gentle, unchallenging drama for people who already know they like it, this is a nostalgic and rosy depiction of an England that was, surely, never so innocent.

By turns impressive and oppressive, Petrov’s Flu combines technical razzle-dazzle with obtuse storytelling. Bravura and baffling in equal measure.

Shot over three years, this is one of the more considered and insightful Iraqi documentaries - although some may find its stylistic contrasts a little self-conscious and distracting.

These teens may be a bit messy (who isn’t?) but it’s a joy to have Diablo Cody back to telegraph a new kind of adolescent horror, with a smile full of teeth.

Falls into the "interesting failure" category.

There are highs and lows here, with a fair amount of shoe leather required before you get to the good stuff. Pretty much like a real festival, appropriately enough.

Madonna knocks herself out and deserves cheers for the emotional range and humanity with which she sings in Alan Parker's spectacular film. But whether you think the movie is great or grisly, rests in large part on your palate for Andrew Lloyd Webber's music.