Still smart, still exciting and still action-packed. It's just a shame to note that, after promising greatness, all Spider-Man 3 delivers is satisfaction.

It may lack subtlety, but everything is beautifully designed and photographed, Watling and Tosar are superb and it's undeniably great fun.

Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.

It’s thinner than the paper it’s written on, and full of questionable choices — but in a switch-your-brain-off kind of way, this will adequately activate your heist glands. Light the fuze!

Amused, maybe - but you won't be seduced.

After the fizzle of the later Roger Moore Bonds, The Living Daylights brings in a new 007 in Timothy Dalton, who manages the Connery trick of seeming suave and tough at the same time, and tried to get away from the weak comedy in favour of proper international intrigue.

It’s an energetic survival thriller and terrific showcase for Lively’s chops, but iffy plotting and a sloppy climax detract from the terror.

The only obsession on display here is De Palma's - with Hitchcock. It's an unhealthy one too which results in an out of focus rip-off.

Pine supplies gravitas in the lead, but he’s almost a lone voice of moderation. Bloody and brash and as subtle as a trebuchet, this is gleefully entertaining — unless you’re English, anyway.

Controversial and contended it may be in France, but whatever your stance this is another thrilling and thoughtful slice of history from the "Days Of Glory" director.

A very pleasurable surprise, with likeable leads, the right amount of gore, and some incredible near-the-knuckle gags that you can’t quite believe writer-director Forsythe even attempts, let alone gets away with. Far better than the 1989 Fred Savage-Howie Mandel movie of the same name.

Fun if uneven stuff from Ratner. A welcome return to form for Eddie Murphy and an even-more-welcome turn by the ever-excellent Alan Alda.

If the script lays the broken heart metaphor a tad too thick and the ending has a fatal inevitability that you can spot a mile off, Bill, to his credit, plays it all straight from the heart (pun intended). Go armed with a very large box of Kleenex.

Exceptional turns by Mélusine Mayance and the ever-excellent Kristin Scott Thomas illuminate a tense and compelling story. The contrived modern-day framing works less well.

A fitting conclusion to Jackson’s prequel trilogy and a triumphant adieu to Middle-earth. Now complete, The Hobbit stands as a worthy successor to The Lord Of The Rings, albeit one that never quite emerges from its shadow.

Some wonderful visual flourishes and two brilliant central performances by Wright and Lawrence help to illuminate the Gibbons sisters’ headspaces. But without important context, true insight and understanding remains elusive.

Castellitto deserves great credit for toning down the melodrama in wife Margaret Mazzantini's novel and producing a very human story about chance, choice and consequence.

As a film in its own right, this quirky Ray Harryhausen tribute (a skeleton army!) rocks. As an Evil Dead film, though, it’s ultimately not funny, scary or gory enough.

A quiet and meditative portrait of the artist as a retiree, this lacks incident or high stakes but has an elegiac feeling of regret and reckoning that fits its subject’s twilight years.

But what starts out so promisingly with some witty one-liners loses itself in the middle and finally descends into a slapstick routine that cries out for a touch of sophistication.

Charming slice of small-town France.

Chilean writer-director Sebastián Silva’s neither-fish-nor-fowl narrative plays tricks on our minds, without fully engaging our senses.

A risky project for Foulkes to make as her first feature, Judy & Punch ventures a little too far into troubled waters with its comedic handling of heavy matter, but shows promise in the woman holding the strings.

Derivative sci-fi hokum but some imaginative touches here and there.

Loveable - especially if you're as fond of a pun as we are - and extremely silly.

Godzilla Vs. Kong mostly delivers on its promise of a big monster fighting another big monster. It just depends whether you’re willing to sit through the toe-curlingly bad set-up that surrounds it.

Only stony hearts won't be moved by Attenborough's vivid, if occasionally sentimental, evocation of a great well of human potential cruelly snubbed out.

A likeable cast and colourful depiction of Pakistani (and Pakistani-British) culture makes this look warm and inviting, but the central romance can’t hold our attention as it should.