Grotesque rather than scary and severely underplotted – but certainly strong meat.

Lacks the classic Disney charm that works for adults as well as kids.

Less ambitious than The Tree Of Life, To The Wonder remains 100 percent pure, unadulterated Malick, an absorbing, thoughtful, moving meditation on the things that matter.

The song and dance scenes are hard to beat in terms of sheer energy and atmosphere, but the dramatic storylines leave several loose ends.

Affleck and Bernthal make a funny, if morally dubious, double act, as Christian’s autism lets sociopathic hit man Brax think of himself as the ‘normal’ brother. Best bit: the line-dancing scene.

Same old sequel squanderings.

A bit silly really but it has a bizarre mix of a cast and some tension in places.

Moving and insightful. Not a classic by any means, but a fascinating glimpse of the way we live today.

It takes a while to get going and never outstrips its theatrical origins but gets by on great actors working through meaty scenes. See it for Streep vs Redford alone.

A psychologically merciless sequel, everything here is as it should be: deeper, scarier, funnier. Muschietti in particular has stepped up, skilfully guiding us through a rollicking funhouse. It is obscenely entertaining.

Criminally overlooked in the States, this is one of the best horror movies of the last few years.

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.

Singer's absence is felt but not fatal. By adding too much new blood Ratner loses some of the original DNA, but with its nifty set-pieces and a few nasty surprises, X3's still a worthy enough sequel to ensure it’s no Last Stand.

While not quite the war movie that many of us were hoping to see right now, Mendes’ dispassionate take on the first Gulf War has many merits, and it does bring vividly to life the peculiar dilemma of the modern soldier.

Class Action, which becomes unbearable whenever the lead characters talk about their relationship, has precisely two and a half things going for it, the half being Mastrantonio's Italian grin.

Despite messy plotting and occasional ill focus, fantastic lead performances help The Strays find its way before a knockout ending really carries Martello-White’s eye-catching debut home.

There have been far, far worse remakes out there. Harmless, feel-good fun.

Yes, Jason Bourne basically amounts to a trio of action set-pieces elegantly strung together. But who really cares when they’re this impressive?

Geoffrey Rush and Judy Davis, predictably impressive in the roles of abusive, alcoholic dad and troubled-but-tough mum.

If it’s psychological horror you love, Nocturne will be music to your ears. If not super-scary, Quirke’s film is an accomplished, uncomfortable tour de force.

Many will find Kansas City unbearable, because Leigh (with a mouth full of jagged teeth and a permanent snarl) and Richardson (who totters along in a druggy stupour), give brilliant performances as extremely unpleasant characters. Furthermore, the ending is a real slap-in-the-face downer. But if you can get past that, this is the real stuff.

It's a million miles from MTV chic; instead a timeless record of a timeless band, now fifty-somethings uniting an everyman/woman/child audience. Feel the power.

Genuinely gripping, Demi makes an awesome femme fatale.

The story of how Flamin’ Hot Cheetos came to exist barely demands to be told (if it is even true). But like all good junk food, there are still some guilty pleasures to be had here.

It’s far from a complete biography, but it makes at least some effort to engage with the messier aspects of Lee’s life. Ultimately, however, this is a celebration of Lee and the cheerleading he did for comics, and that is surprisingly moving.

A sorta-sequel to Mrs Brown deals effectively with another of Queen Victoria’s unconventional friendships and reprises Judi Dench’s powerful and unparalleled portrayal.

Not one to let slow-building tension and mystery get in the way of wild flourishes of extremism and shock, Ken Russell hit upon a story that more or less handled his structural excesses and tendency toward blasphemy.

The music, even after a quarter of a century, is the film's redemption.