It’s essentially, y’know, for kids, but the dedicated fairy tale fan will have tons of fun spotting all the references. Adams, meanwhile, gives one of the comedy performances of the year.

A strange, mostly enjoyable mix of big political questions and crude comedy, Zohan overcomes its skeletal plotting and uneven gag ratio through Sandler?s sheer commitment to nonsense.

A very silly, sporadically serious hood spoof, with some surprisingly frank discussions of mental health — and a welcome redemptive arc for the multi-talented Adam Deacon.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

If there's a criticism to be made, it's that the script doesn't push itself far enough with the moments in which it excels.

Don't expect anything too profound from this middleweight fare - but it'll still be better than the inevitable remake.

Although let down by muddled plotting, The Night House is a low-key, well-made thoughtful horror flick, excellently played by Rebecca Hall.

Sharp animation and powerful visualisation of scale will enthrall a young audience but the clumsy cub-scout moralising feels, well, extinct.

Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.

A beautiful, subdued Daisy Ridley performance anchors a story that is underplayed to the point of almost non-existence. Still, if you’re tired of blockbuster bombast, this could be the antidote.

The sugar level is positively diabetic, but the whole aura of warmth and cuddliness is hard to resist.

Shows the famed songwriter's performance and work off with reverance, and a faithfullness to the live experience.

Ironically, it lacks journalistic rigour but it's a fond, nostalgic look at the gilded history of the Grey Lady.

This is one of those movies that's "interesting" rather than ˜"good". Smith has so much solid material to deliver that it's a shame the package is so sloppily wrapped.

There’s quite a bit to admire in Motherless Brooklyn, but mostly in detail work — the hats, the cars, the join-the-dots conspiracy theory — but it doesn’t really catch fire as either a private-eye mystery or a study in Tourette syndrome savantry.

It’s far from a complete biography, but it makes at least some effort to engage with the messier aspects of Lee’s life. Ultimately, however, this is a celebration of Lee and the cheerleading he did for comics, and that is surprisingly moving.

A cheerful comedy-drama with charm to spare.

Like a late ’60s satire played embarrassingly seriously.

Sterling performances lift the occasionally soapy storyline in this semi-successful adaptation.

Still creepy, ooky, mysterious and spooky, but trying to follow the storylines is like sorting spaghetti.

There’s no doubting the energy, but without Colin Farrell’s fervour, or any novel spin, it’s no more than treading water from this gang.

Originating the genre of 'dedicated teacher reaches troubled kids in a ghetto school', this is still affecting although heavy-handed.

With a sharper focus on race and plenty of real-life horrors to draw from, Gerard McMurray brings a fresh perspective to this splashily satirical prequel. If only its action was as punchy as its ideas.

Not as affecting as Ozu's classic Tokyo Story, Late Spring still charms with it's similar theme of development of the parental bond as the children mature and become more independent. Although well acted, the visual are equally arresting but when the themes are so similar a new approach is required to keep it interesting.

Fanning brings her A-game and there’s enough mystery about the monsters in the woods to string audiences along until the satisfyingly weird finish. As mid-list horror goes, perfectly fine.

A supernatural, effects-laden yarn like this is right in Robert Zemeckis' wheelhouse. Which makes it a little disheartening that it’s merely good, rather than great. Dahl's story still sings, but like a potion missing eye of newt, this new take is slightly undercooked.

An enjoyable World War II spy flick, Munich: The Edge Of War scores with strong performances and filmmaking craft, but is let down by a lack of dramatic heft. A Father’s Day watch in waiting.

Fans of the Say Anything/ Running On Empty school of drama could do a lot worse that give this one a go.