Under The Silver Lake is gorgeous to look at and listen to, with moments of genuine panache, but its wilfully labyrinthine plot will have limited appeal.

What makes the film work is the double act between the two actors, and some great one-liners that pepper the script and cover up the fact there isn’t a great deal of originality in the plot.

Statham and Johnson hold even the faltering moments up through sheer charm, their chemistry never better than when the film lets them lean into the slapstick of two macho doofuses having to work together.

While it may blunder down the odd comedy cul-de-sac, Madagascar 3 is often inspired and very, very funny.

An interesting and catchy take on a traditional tale of repressed teenage rebellion.

A suspense-filled nailbiter that plays on a fear no weapon weilding psycho can top.

Warm and heartfelt performances from the two principals are undercut by a formula that too readily reveals the outcome. Interesting workings fail to fully add up. Must do better next term.

A severe portrait of fortitude under extreme pressure, somewhat marred by blinkered politics.

Smallfoot effectively weaves powerful messages into a fun, heart-warming animation that is sure to appeal to audiences both young and old.

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.

The things Sorkin is criticised for — grand speeches, an earnest streak — are the things that make his work sing when the context is right. The drama of this legendary TV couple gives him plenty of material to do some of his best work.

The first Mamma Mia! often felt like being trapped on a non-stop rowdy middle-aged all-singing all-dancing holiday (in a good way). Ten years on this second trip feels older and wiser, for better or worse, and despite the odd misstep you’ll still be dancing in the aisles come the end credits.

Missing the punchy plotting of the Coens thriller it resembles, the early chuckles don't quite translate into a satisfying whole.

It comes across as a man's eye view of what a women's film should be like, and although it's not altogether clunky, you can't help but feel that in the hands of a more sympathetic director it could have been something really quite special.

One of the best mainstream action-thrillers [in] a decade.

Like Lansbury, the film has aged well and retains almost all of it's magic.

A low-fi indie that swiftly slums into terminal feyness.

Hard to call something this gratuitous entertainment but certainly lingers in the memory, thanks mainly to the bombast of Stone's script.

A compelling and moving interpretation of a largely forgotten moment in European history.

Considering the danger, spectacular setting and sheer derring-do of its subject matter, this is pretty leaden stuff. Disappointing.

The Moomins’ adventure is, despite its French joie de vivre, full of the knowing wit and wry Nordic wisdom which have ensured their popularity since 1945. A treat for the whole family.

Pugh and Garfield are a dynamite duo in this likably earnest, satisfyingly complicated love story. Worthy of your time, and your tears.

Grim and gritty. Warning: contains punishing scenes of testicle burning.

With its edgy style intact, The Immortal Man never takes its eye off the Peaky faithful. But keeping the fans happy is a double-edged sword, as it can’t help but just feel like an extra-long episode rather than a standalone cinematic experience.

The filmmakers try to solve the problem of turning an experience which merely consists of a series of fights into a story by... ignoring it, presenting a film which merely consists of a series of fights.

This is arguably although unfortunately Goldie Hawn's most memorable role. For while she embodies the character perfectly and when the jokes are funny they are hilarious, sadly there just isn't enough to keep the film going and it begins to run out of steam half way through, with an attempt at a deeper meaning ruining the film.

It’s not a reinvention of the wheel, but in 3D this is an astonishing experience that borders on ‘must-see’, and raises the bar for what James Cameron is planning with Avatar. And you’ll be glad to know that the creepy dead eyes thing has been fixed.

A patchy follow-up to the searing ’71 from director Yann Demange, but one which tells a compelling true story and offers a treat of a supporting turn from Matthew McConaughey.