It’s handsome, involving and stars the cream of British acting talent — but so did Lean’s unbeatable version, and Newell and Nicholls’ safe, schoolteacher-friendly interpretation makes no real case for going down this much-travelled road once more.

As a movie it was never wholly successful, mainly because it was saddled with all the excesses of the second season of the TV show; but for converts, this is still unmissable.

The frenetic action is Assassin’s Creed’s saving grace. Inventively choreographed and beautifully executed, its game-inspired brand of wushu-meets-parkour delivers some genuinely awe-inducing feats.

Perhaps not as heart-warming or charming as the first film, The Railway Children Return is engaging and entertaining in different ways, winningly played by its fresh cast.

Slightly overlong and glosses over certain aspects but a profound examination of a tortured artist.

Wells knows how to extract the goods from a great cast, but it's in service of a somewhat mundane story. Still, it'll make you think about the imbalance in the business world, even if the arguments and consequences are nothing all that revolutionary.

It benefits from a supernaturally engaging cast, but this treads too closely to the rom-com model to feel as smart or moving as Westfeldt's previous best.

There may not be a laugh every minute, but there are enough to satisfy most devotees of the relentlessly silly, tasteless school of parody.

A sequel that serves its characters with a fresh story instead of relying solely on the tropes of its predecessor. This high-fashion tale could have benefited from higher stakes, but Streep and company remain as in vogue as ever.

Bearing a passing resemblance to both Man Bites Dog and Chopper, it’s hardly original, but still a laudable example of proficient guerilla moviemaking.

A triumph of art direction, sound design and Gallic phat beats, but could do with a script upgrade and fun.exe patch.

Harrowing, visceral and definitely not for the squeamish, the fake documentary approach is an effective and unsettling tool, and while the film never quite reaches the horrific heights of John McNaughton's chilling Henry: Portrait Of A Serial Killer, it is, for better or worse, difficult to forget.

Shifting between bourgeois soap, tabloid parable and tale of the unexpected, this three-storied study of salvation in extremis makes for unsettling but compelling viewing.

There's plenty here to show why director Daniel Espinosa caught Hollywood's eye, even if this pre-Safe House crime drama holds few surprises.

Justice hasn't been done. The heavens haven't fallen. But skilfully prodding and probing at the edges of America’s greatest crime scene, Oliver Stone reinforces the argument that this was far from an open-and-shut case.

A bit theatrical in places, which is not surprising when you consider its provenence but it suffers for it.

While not quite on a par with Andrew Haigh's "Weekend," this is still an undeniably powerful piece of filmmaking.

It is a committed ensemble that sells this flock’s love for their shepherd, and while the tale often treads on familiar ground, it is in the bond between these animals and their owner that the film finds its woolly heart.

If it is at times a bit indie-by-numbers without the courage of all its convictions, this is a grittier, saltier than usual rom-com populated with laughs, smarts and a couple you can root for.

Whisper it. A Quiet Place Part II might lack the smarts and novelty of its predecessor but it serves up strong set- pieces, Millicent Simmonds shines and Krasinski remains a director to watch.

Apart from a sprinkling of Wilde's legendary bons mots and a few fleeting visits to theatres where audiences cheer Lady Windemere's Fan, there is disappointingly little here to suggest the complexity of his mind, the range of his writing or, crucially, the importance of being Oscar.

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.

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

Not all Saturday Night Live sketches succeed in the transition from small screen 5 minute slot to hour and a half, with CB4 a fine example of one with mixed results. Rock and his group do well in mocking not only the blacks, but whites and all number of classes along the way, except the story doesn't quite manage to hold it's own as the joke begins to tire after the first hour.

First and foremost a highly enjoyable crowd-pleaser, despite some plodding direction and laboured point-making about TV news and the nature of fame and heroism, this has Garcia and Davis as their usual beguiling selves and an ending guaranteed to raise a smile.

Worth a look, if only for the surreal groupings of the gangs (The Wongs, the Del Bombers and the Fordham Baldies...that's right, they're bald).

The Blackening is shuddery entertainment with more laughs than the entire Scary Movie franchise.

A solid conclusion to an unlikely trilogy and a fitting end to Robert McCall’s character arc — with Washington still entertaining as a deliverer of slick justice.