A sharply observed but bleak examination of family dysfunction, anchored by solid performances.

A beguiling work of some beauty, this is a further move into a world of hypnotic, observational cinema for Gus Van Sant. But in the end, the detached style has the power to alienate as much as to enthral.

This documentary feels too stuffed and not insightful enough to be the definitive article — but few skinny-jeans-wearing Millennials will be able to watch without getting nostalgic.

A daft idea perfectly calibrated to Black’s pop mania, then hermetically sealed by a director who thinks he’s making a Hal Hartley movie.

It’s a fun premise, one that this treats seriously, but it never quite reaches the highest levels of the genre.

Vikander and Fassbender are riveting in a handsome period drama that begins beautifully, but becomes increasingly contrived as it tries to wring as much drama as possible from its set-up.

Unsurprisingly, considering the circumstances, this is less a meticulous study of photojournalist's art than an privileged and emotional look at the life of a friend and colleague.

Cute, clean, camp fun, full of sunshine and toe tappers. Guaranteed to put grins on tweenies who are in to High School Musical, grans with a pair of platforms still at the back of the wardrobe, and a lot of people in between tone.

An emotional, if familiar, take on loyalty and technology in a world where love and survival feel near-impossible. Reid’s writing shines and there’s nobody better than Mescal and Ronan to broadcast heartbreak.

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

Stylish and gripping at times, this wry very-French gender satire is definitetly entertaining but falls down a little in the third act.

As well-constructed, unique, hardboiled and brutal as Zahler’s prior films, but this one leaves a less welcome bad taste in your mouth, thanks to its repugnant heroes and racial stereotypes. Impossible to dismiss, but hard to warm to.

That this is a patchwork quilt of a screenplay (written by five credited writers) is apparent in its use of little bits of this and little bits of that. Did none of them notice, looking at the big picture, that it's unbelievable?

Manipulative and preachy, The Butler is redeemed by a sensitive performance from Forest Whitaker and the undeniable power of the events it depicts.

Occasionally clunky and retrograde but in the same manner as a story told by a grandparent, The Alto Knights reminds us that De Niro will always be cinema’s greatest gangster.

Style over substance, but very stylish indeed.

A sequel that feels less necessary than willed into being, but that doesn’t mean it’s not pleasantly entertaining. There are more fluffy animals than in the first movie, more set-pieces and about the same number of laughs.

One of Heston's best work, this shows our lead at his most macho and heroic, inspiring a whole army while also managing to woo the stunning Loren in this romantic war epic.

A solid adaptation, even if its camp exuberance is a bit muted on the screen. It’s unlikely everybody will be talking about it, but its positivity is infectious.

For all the charisma of its hero and villain, it falls down on its failure to resist cliché.

If it doesn't make you at least giggle, then you clearly don't understand the true meaning of the festive season.

Falls slightly short of being the definitive Alien doc, but Memory is slick and thoughtful, and will deepen your love of a classic.

Clearly not a |Disney classic as almost no-one has heard of it, this is vaguely enjoyable 70s hokum.

Riper than the ripest of ripe Brie, this crime caper provides a ridiculous vehicle for the talents of pretty much everyone involved, all of whom appear to be having a splendid time. Taken on these terms, viewers probably will too.

Cute and sweet, and if it lacks great wit or magic, at least it has the courage to remain faithful to the gentle sadness and 'realism' of the original material.

Performances are good but not career best.

Dynamite action. This is a good bet for a night with the lads. And weedy girlies can at least wake up every ten minutes when Denz takes his top off.

About as good as a big, stupid American action movie can be without ever being anything better than a big, stupid American action movie.