Who could ever buy Atticus Finch as the demonic Ahab driven by hellfire to hunt down that dreaded white whale?

Son Of A Gun has the gritty, rough feel of 1970s heist/hit picture

Ben Is Back begins with nuance but is let down by its familiar Drugs Are Hell tropes. Still, the pairing of the ever-excellent Roberts and Hedges keep it a largely compelling watch.

Course-correcting to some degree with the return of its most inspired director, Justin Lin’s latest F&F instalment is a little too plastic at times, but back on track.

Far from the giant mess you’d expect from the delayed release, late title change and a production history as muddled as the source material, Singer’s tall tale is snatched from disaster by an all-hell-breaks-loose third act.

Hit-and-miss for Howard. The tone flits, sometimes uncomfortably, from Vaughn-fuelled laugh-fest to relationship drama, but it's a winner compared to many of the clunkly comedies out there.

Better than "The Transporter" but not as much fun as "Crank".

A strange brew. While the family dynamics and capitalist satire work a little better than the outlandish spectacle, White Noise at least appears to herald an ambitious new phase in Noah Baumbach’s career.

Rarely has screen satire been so bleak or so mercilessly funny.

It can be seen for what it is: a well-crafted entertainment that boasts excellent performances (particularly from Dillane) and fully engages the mythology of sport, reminding us that in its transcendent moments, even a tossy one like golf has the power to capture the collective imagination.

The rare teen movie that recognises crushes are never as important or powerful as BFFs — and one that marks an intriguing new direction for Adam Sandler’s Happy Madison productions.

In another variation on a theme, this plodding drama may have its heart in the right place but, along side a gaggle of angst-ridden Hughes dramas of the period, fails to stand out amongst the crowd.

The film works for the most part, and even though the laughs notably dry up as the CGI spectacular kicks into gear, its feelgood vibes will most likely have already won you over.

Neither a Medellin-style disaster nor an Aquaman-sized hit, this pays decent fan service but an Ari-centric spinoff might have been the smarter move.

Another dose of Culkin charm.

If it lacks filmmaking fireworks and emotional wallop, The Children Act delivers a sensitive, thoughtful drama about complicated issues. And it is another reminder, if one were needed, of the subtlety and skill of Emma Thompson’s stratospheric talent.

Abrasive but affecting.

Fabulous fantasy from the godfather of modern puppetry Jim Henson.

A feverish, quietly sad exploration of longing and infatuation. Its lack of focus stifles the experience, but Daniel Craig has rarely been as compelling a watch.

Pacy and punchy, this is a promising first official outing for the new Captain America, even if some awkward and inconsistent moments hold it back from greatness.

As a satire on the seduction by media and our infatuation with celebrity, it's hardly "The Truman Show," but Garrone’s Gomorrah follow-up is wry and witty. Plenty of fun.

An uneven, somewhat meandering thriller is given emotional pull by Mel Gibson’s excellent comeback performance. The lethal weapon hasn’t lost it.

Repetitive insults do most of the heavy lifting for this comedy, but any time spent with actors as skilled as Colman and Buckley is time enjoyably spent.

Sir Richard Attenborough's long-in-the-making account of the life of Sir Charles Chaplin is a film you desperately want to like, but it emerges as a big, shiny, old-fashioned biopic that ultimately fails either to illuminate the genius of its subject or to excite as a story.

With the potency of the central idea diminishing, Escape still manages the tricky move of carrying on a story that really should have ended with the last film, while setting up the series' mythology and paving the way for future chapters. But it's still a dilution.

However contrived this tenth Sparks-to-screen becomes, the emotions and chemistry outweigh the bull.

A fascinating portrait of a broken rock star picking up the pieces, this misses a few tricks but still entertains.

This coasts along just fine thanks to charm and comical interludes, but it fails to deliver the sassy story it promises. Fine for a romantic comedy, but an inferior follow up to director Gluck's edgier "Easy A."