Formula rules, as Ferrell applies his schtick to another sport. But there's enough silly spectacle and eye-popping costumes to compensate.

If the script lays the broken heart metaphor a tad too thick and the ending has a fatal inevitability that you can spot a mile off, Bill, to his credit, plays it all straight from the heart (pun intended). Go armed with a very large box of Kleenex.

A great idea is weighed down by an over-egged screenplay, but the setting and cast bring out its best.

Danny DeVito's ambitious and violent biopic nonetheless paints an intriguing portrait of a complex and angry man while effectively exploring his uses and abuses of power.

Charming performances from both leads and insightful vignettes makes up for occasional clumsy writing and plot developments.

Pugh is superb, while Wilde confidently steps up to a bigger subject and budget to deliver a slick, beautiful film. It doesn’t quite stick the landing, but its flight to that point is fascinating.

The late, great Robin Williams brings great nuance to the anguished Nolan’s inner struggle in a slight but sensitive story about a man facing a life-changing choice. It’s a worthy legacy for a beloved, talented and much-missed actor.

Great on his early life, but doesn’t really illuminate his genius as a filmmaker.

Emphasis has been placed on extravaganza, when it should really have been placed on getting good performances out of a talented cast.

It’s hard not to get swept up in some evocative, gorgeously staged filmmaking here. But Empire Of Light often seems a little confused about what it is trying to achieve.

A blistering, brutal Iraqi Scarface. You do wonder what the point of it all is, but Cooper is fantastic. Twice.

The three lead characters end the film as isolated as they began it. As with the plot, there isn't quite enough in the throwaway humour to hold them together.

A Dame To Kill For shares some of the downsides of the first, particularly dubious female characterisation. But this retains the gritty, gruelling vice-grip on graphic-novel noir that made Sin City so enjoyable.

Imagine "The Lion In Winter" set at a Kylie gig. You can have too much of a good thing, but it is a good thing.

Creepy and clever but rarely surprising, this horror hits its marks well enough, but fails to surpass its more rough-and-ready predecessor.

A touch twee at times, but the use of classic and original animation is admirable, while Owen emerges as the king of sidekicks.

Fairly routine western makes a disappointing swansong for Hawks. Still good fun though, if you like this kind of thing.

The likeable veneer of the film never threatens to evaporate, which is both a good and a bad thing; the comedy is plentiful but the dark laughs are never quite dark enough, given the subject matter.

It’s always a good story, this time told more creepily than usual. Good, but not as good as The Muppets’ Christmas Carol, Scrooged, Mr. Magoo’s Christmas Carol or some great, classic live action classic versions.

Whilst this takes itself a little too lightly it has a lot going for it.

It doesn’t quite successfully balance its warring tones, but a winningly grumpy performance from Tom Hanks — and a winningly sunny one from Mariana Treviño — ensures for a very watchable take on the ‘giving life another shot’ subgenre.

The song and dance scenes are hard to beat in terms of sheer energy and atmosphere, but the dramatic storylines leave several loose ends.

Not the most sophisticated psychological thriller, yet slick fun.

A flawed but fascinating (and frequently funny) insight into a culture seldom explored on film from an insider's point of view.

It’s the sort of picture you'll either queue all night in the rain to see twelve times or avoid like a Wayans Brothers Retrospective for the rest of life.

It suffers from ADD, but there's some terrific stuff in here. Leaving 15 minutes from the end and saving yourself a lumbering coda may improve enjoyment.

An enjoyable foray into JK Rowling’s imagination, bolstered by a more appealing Eddie Redmayne, but you can’t help feel The Crimes Of Grindelwald is still treading water until future chapters.

Without rising star DiCaprio and Mark Wahlberg this would have been considerably more turgid and unappealing. But their charm allows sympathy and involvement with the characters, despite their efforts towards self-destruction.