It’s genial, with appealing stars and fair giggles.

One of the finest documentaries ever made about the performing arts, this magisterial history of the companies that danced under the name Ballet Russe will enchant dance aficionados and novices alike.

It is a noble aim, and Reynolds drenches his movie in earthy, muddy tones.

This ankle-deep story has a cheekful of tongue, providing opportunities galore for hammy, quick-draw melodrama and the perfect vehicle for Ms. Stone.

A typical 90's comedy featuring staples Richard Dreyfuss and Emilio Estevez who re-hash their 'cheeky cops' schtick from the first picture and are now joined by O'Donnell who tries to inject more humour allowing us to forgive the lack of an engaging story. Sadly this is where all three fail.

It’s but a shadow of the original and a lesser entry in their (Coens) collection, but you are still blessed by flashes of black heart.

It's more than a little precious, but it's also sincere, touching and astute in its insights into social geography and human nature.

Part "Evil Dead," part "The Truman Show," part "Arthur Christmas"... For horror hounds who love a larf, and those of us who always wondered exactly what that dry-ice stuff that rises out of the forest-floor moss is. A fun ride - but not quite a "Scream."

While Dudley's booze-sodden antics tire after a while, there's relief in the form of John Gielgud as the old-fashioned English butler with a nice line in four-letter words, and a return to the screen from Liza Minelli, who plays the waitress Arthur falls in love with.

No matter how well dressed, the movie can’t escape the gravitational pull of formula. Without a convincing subtext, Black Rain is pretty dull fare indeed.

No award winner, but at least it delivers the rubbishy goods.

This is a hoot, the kind of hammy horror romp you wouldn't kick out of the video on a wet Wednesday night.

The remake/parody sequences - trailers for which are on the official site - are outstanding, but Black’s all-over-the-place mania and Mos Def’s slightly too bland orphan hero don’t quite tie the rest of the picture together. Still, it has heart. And you’d rather see this version of "Rush Hour 2" than the original.

Smarter than it sounds and carried by a very funny performance by Foster, this is a kids’ movie that’s bearable for adults too.

Sirens is a harmless, occasionally intriguing, confection offering just that bit more than an eyeful of Elle in the buff.

Relatively speaking it's nonsense, but very cute.

Relentlessly juvenile, it will offend moralists while making fans laugh out loud. It's only when demands of storytelling intrude that the film can't keep it up.

Nobody does vapid bollocks as enjoyably as Tony Scott, and while this isn't as inventive as "Man On Fire" or as compelling as "Crimson Tide," it's still the right side of dumb.

Timestalker lacks a little humour and insight into obsessive love to make it truly sing, but it’s an admirably ambitious fable that could be destined to become a cult oddity.

Veers too close to hagiography, although it's visually arresting enough to carry you through sagging in the narrative.

An intelligent, engagingly honest study of love lost and, just maybe, regained.

Delivers a decent puzzle and enough jumps to keep you enjoyably jittery.

Reeves and Winter look like they’re having a blast getting the band back together in a fun but forgettable time-travelling comedy. Neither bodacious nor bogus.

Distinctly predictable offering from the ever-overworking John Hughes, who has taken a step back from his previous work.

Knightley and Mbatha-Raw headline an excellent band of British talent, but the film’s focus feels sadly misguided. There’s a great story within Misbehaviour — we just don’t get to see enough of it.

It’s hard to take House Of Gucci seriously, because it never seems to take itself seriously. Yet with such glee being had by those involved, it’s an infectious, bizarro bit of fun.

Hotel Mumbai benefits from strong filmmaking and an unflinching gaze, yet it lacks dimensions, both in its characters and take on its subject matter. Still, it’s a punchy, promising debut.

For all the blasphemies and British accent, Pinhead is just a sub-Freddy goon, and the ambiguities and perversities Barker is so fond of have been neatly tidied-up. This is the sort of picture teenagers in malls in Akron, Ohio might understand — a good horror sequel, and that's all.