The midway point between "A.I." and "Diary Of A Wimpy Kid." It has quirky charm and a tender heart, but the treacly sentiment may become wearisome.

Late Night is sharply written and warmly enjoyable, with Kaling and Thompson on endearing form. But a few extra knock-out gags and a clearer focus would really help it in the ratings.

A long, sometimes broad film, but one that tackles an important and prescient subject, especially considering the ever-increasing numbers of asylum seekers crossing seas in dangerous circumstances.

Judy Garland is magnificent in this charming musical with a number of star turns from the impressive cast.

For all it boasts in ingenious style, this genial American yarn lacks the delicious bile of Jenuet’s early days.

Gorgeously realised, gripping and doused in De Palma’s familiar technical wizardry, this is only let down by the director’s equally familiar uninterest in the humanity of his characters.

Taika Waititi’s most daring film isn’t his most successful. But among the tonal clashes there’s real hope, humanity, and no-bones-about-it Nazi-bashing at a time when that’s depressingly necessary.

Persuasively played by fine leads and a well-cast ensemble, this thoughtful treatise captures provincial life and the medical mindset with authenticity and tact.

The Ocean’s Eleven: The College Years mood makes for a breezy good time, even if there is, like Vegas, precious little substance beneath the glitz.

Rinko Kikuchi's superb core performance and some striking photography stand out in the latest feature from the Zellner Brothers.

There are flaws aplenty, but also some effective, old-fashioned Western style performances and a spectacularly over the top finish.

Grotesque rather than scary and severely underplotted – but certainly strong meat.

Despite some shaky moments, Chuck Chuck Baby is an endearing tale of self-acceptance, wearing its heart fully on its sleeve thanks to the affecting central romance and joyous transformation of its protagonist.

An old-school film about an old-school crime that brings together an impressive array of British legends. Solid, but sadly the results don’t exactly blow the bloody doors off.

A blockbuster that offers enough quirky pleasures to feel fresh and unpredictable.

Aided by a dialled-down Gordon-Levitt, Stone skilfully demystifies one of the Obama era’s most compelling stories. It’s a welcome return to form for a cinematic sleeping giant.

It’s thinner than the paper it’s written on, and full of questionable choices — but in a switch-your-brain-off kind of way, this will adequately activate your heist glands. Light the fuze!

The script is weak and obvious and the direction disappointingly unimaginative. But stars are stars, and the old boys are terrific - enough to make this a funny and sometimes moving buddy picture.

The Electric State loses some of the quiet profundity of the original text, but as a breezily watchable retrofuturistic jolly, it has just enough juice.

Best of all, an astonishing sequence in which Bugs, Daffy and Porky Pig leap from painting to painting in a breathless chase through the Louvre sufficiently demonstrates just how much life modern animation techniques can breathe into these timeless characters.

Fun for kids, but, despite some adult references, appeal for the over 10s is limited.

It's fun spotting stars under cakes of make-up and the panache, great supporting cast and good-natured, old-fashioned feel make for a better movie than you remember.

Quite a nice little relationship comedy-drama, but essentially for an audience of what the French charmingly call ‘women of a certain age’. Totally not the Superbad set, then.

Nothing you haven’t seen done better elsewhere, this one’s a missed opportunity. McConaughey’s hard work is impressive, but that’s the only message Gold is interested in conveying.

An Alpine study of ageing and creativity that’s as fresh and bracing as the mountain air, although occasionally just as chilly.

Like good whisky, Loach is mellowing and becoming subtler with age — though a swift chug still has a bit of a kick.

There's no lack of style or pace from Noyce, just the sense that it isn't quite gelling together.

Same old sequel squanderings.