A sparse and languid Italian thriller that carries a debt to Melville.

Enormous fun.

Like 2001, Star Wars and Jurassic Park, it ups the special effects stakes and gets closer to putting on screen the images you've had in your mind while reading epic sci-fi.

Sound tricky? It is, and all a little too cutely so, the switches back and forth between realities ever more contrived and eventually tiresome, prompting giggles of relief as the storylines painfully draw towards a soap operatic convergence.

Exploring workers' rights in an age of mechanisation and recession, this isn't always an easy watch. But it's played with spirit, filmed with integrity and is pleasingly full of surprises.

A dark and darkly funny dissection of a couple’s ‘perfect’ relationship, examining how internal forces and exterior pressures can drive two people to their breaking point.

A welcome surprise, containing more bona fide scares than Romero's vision, while paying grand lip service to the old master. Truly worthy of that famous title.

The action is enthralling even if the storyline doesn't always have the ring of truth about it.

Laurent's brushstrokes always feel a little too broad to capture the finer details of the legendary New Wavers, but some fascinating archive footage saves his documentary from missing the mark altogether.

Average example of MadMaxploitation.

The stiffness in the writing and general lack of subtlety leave this feeling underwhelming and overwrought. As a moral fable, The Forgiven offers little genuine critique.

This Neil Simon-scripted pastiche of an array of much-loved detective characters is surprisingly charming.

A loopy joy from start to finish, Bradley Cooper proves that he's the real deal.

Odenkirk as an ageing action hero is still a violent delight, but the storytelling in this sequel leaves much to be desired.

Jurassic World is fresh and thrilling, and while it often tips its hat to the original, it’s not a slavish copy, introducing more than enough new wrinkles into the prehistoric playbook to launch a new wave of sequels.

Merrily gruesome black comedy.

A daft movie, but one not without its moments of healthy radiance, spurred on by some bristling gags and a welcome comic return by Emma Thompson as a gauche fellow doctor caught in a romantic sub-plot.

Jordan has, though, made an important film, based on the wise predication that only through understanding can come peace. And if that sounds a bit pompous, it's also a damn good trip to the flicks.

Ultimately make no more than a cosmetic effort to disguise its stage origins.

This time the banter is tighter and funnier, and Calvin’s musings on the importance of community seem more heartfelt.

The effects, arguably the best of the year, only add to the thrill.

This subject demands a Godfather Part II, but Stone and collaborators have turned in a Godfather Part III. There is a lot of good material, but LaBeouf nearly sinks it and we could use much more of the old Gekko brimstone.

It’s a sad, emotive, important subject but it deserves a more detailed, heartfelt film than this.

It feels more like a ciné dissertation designed to showcase Zvyagintsev’s appreciation of the medium than an original piece of cinema.

Ustinov may not be the Poirot that we all think of now, after the David Suchet series, but this is pure Agatha Christie, steeped in nostalgia and atmosphere.

A sentimental drama that's 'good in the air' and something of a throwback to war films of old.

Another coming-of-age tale about three boys and their quest to become men, which invariably revolves around having sex and puerile behaviour but then changes tack completely by giving us lush scenery. If the director had remained with one idea then perhaps the end product wouldn't seem so varied.

A lean and mean throwback of a thriller bolstered by excellent performances and first-class filmmaking. Occasionally bites off more than its CG budget can chew, but when director Taylor Sheridan keeps the action grounded, it’s sweaty palms central.