The plot’s all over the place, but there are a lot of laughs and some strong action beats along the way.

Diehards might be disappointed at the lack of chainsaw wielding, but this is Campbell’s finest hour since you-know-what.

A Mex-set spaghetti Western featuring toilet humour, organ transplants and the closest Mel Gibson’s come to playing Martin Riggs since the last Lethal Weapon.

Hardly as revolutionary as the activists it draws inspiration from, Call Jane is nonetheless a charming, big-hearted story of a fight for justice, and might just change a few minds along the way.

If it’s surprisingly sweet-sounding subject matter for Albert Hughes’ first solo film, he treats it with respectful seriousness. It’s a family movie but one unafraid to show some very sharp teeth.

A gripping if occasionally overwrought drama radiated by a standout turn from Seydoux.

It's not on a gasp-inducing making-the-Statue-Of-Liberty-disappear level, but with its opulent presentation and confident storytelling, The Illusionist has the power to keep an audience rapt like a good old-fashioned card trick.

Covering alcoholism, manslaughter, infidelity and petty crime, there’s a rich spread of melodrama on offer, but none of the tales have meat enough to satisfy alone. Together, though, they form a varied backdrop to showcase some respectable character work.

Nail-biting and genuinely heartbreaking moments mean it's emotionally involving, even if it isn't the cheeriest drug dealer saga in town.

Episodic western with a great performance from Hoffman.

The romance between Knowles and her leading man doesn't quite spark, and cutting 30 minutes wouldn't have hurt, but Saturday night disposable fluff is rarely as warm-hearted or exuberant as this.

Crude, hilarious, if a little corny, Smith's latest hardcore comedy is right on the money shot.

It won’t win points for originality or sophistication, but this is another muscular, well-pitched heist thriller with strong character work from Butler and Jackson Jr. We wait with bated breath for The Further Adventures Of Big Nick.

Josh Fox puts a fresh spin on a well-drilled - if continually relevant - story.

A noisy but enjoyable destruction derby of a film, sadly with none of the subtlety, invention or skill of Spielberg's Duel.

This was understandably inspiring to wartime audiences and actually still holds up as a heartwarming story with a very decent cast.

Edwards’ film boasts great filmmaking, noble intentions and cracking monster action. Yet it never reconciles its B-movie origins — preposterous premise, clichéd characters — with its solemn, Nolanised tone. This Godzilla stomps but very rarely romps.

Reasonably gripping.

It's not exactly good, and it has some very bad scenes indeed, but the performances sometimes sparkle and the unusual happy ending -- scored with David Bowie's 'Putting Out the Fire With Gasoline' -- is surprisingly moving.

While it never descends into the nightmare its premise threatens, Black Box is a solid thriller that benefits from strong performances and a screenplay packed with philosophical anguish.

Strong performances, warmth and light comedy abound, even if it is a bit stagey.

Not one of Altman’s masterpieces, but aficionados will find pleasures in a bittersweet swansong from the grand old man.

It’s extremely antic for the most part, covering a lack of real story with a lot of distracting quirk. Yet when Petit’s foot slips out onto a wire thousands of metres from the ground, it’s quietly mesmerising.

This old-fashioned tale of folk heroism and hardy underdogs benefits from solid performances and spectacular vistas, but it loses points for a sequel-baiting ending. 

A fun and frothy mock-doc with a message buried in its axle.

A moving story that manages to steer clear of the usual hammed-up adolescent angst. The result is a quietly powerful refresh of the coming-of-age genre.

A smart, subversive but rather cold debut from Brandon Cronenberg that's short of the dark wit that lit up his father's early work. Then again, comparisons are hardly fair, especially when Cronenberg Jr. clearly has plenty of ideas of his own.

Polanski’s unavoidably stagy adaptation of David Ives’ celebrated Broadway play is an enjoyably witty two-hander, confined to its theatre setting, yet with much to say about gender roles in the world beyond.