A familiar tale of a quirky childhood is delivered with little in the way of freshness or truth. Still, the performances by Larson, Harrelson and Watts rescue it.

It's colourful, fun and as surreal as Disney is ever likely to get, this isn't as good as the books, but works as a cute introduction to them.

Blood-drenched and gore-splattered, anchored by a hard-as-nails performance by Beetz, this is a thinly plotted but immensely fun horrorfest. Best watched with a strong stomach.

There are moments that make the whole enterprise worthwhile, and introduces an intriguing new Batman. But it’s also cluttered and narratively wonky; a few jokes wouldn’t have gone amiss, either.

Sub-Ludlum plotting but stylishly executed, this offers a fun night out but is far from a nailed-on franchise-starter.

Disappointing third act to this brave drama about love and sex in our later years.

A decent but unremarkable film with a big, unforgettable central performance. Carey Mulligan passes with First-Class Honours.

Strong turns from its female leads and Amanda Seyfried elicits more sexual tension from proceedings than "Jennifer's Body" ever managed.

The boys put in fine performances but sadly the script lacks the depth of what could have been a challenging story.

Great actors do what they can in a simple and largely unaffecting story.

Two compelling leads and a mix of adventure and romance. It’s a pleasant experience, if not one that will linger long in the memory.

For all its chilled intelligence and topical ambition this is a bloodless adaptation, but worth seeing for Hoffman’s deft and ghostly presence.

Violent and sometimes shocking, this is nevertheless superbly acted, brilliantly shot piece.

Soapy it may be, but for those who’ve poshed it up with the Crawleys since the very start, this is an affectionate, escapist hug of a movie — like being wrapped in a doily.

Jennifer Lawrence is the standout in a tonally uneven, eccentric romantic dramedy that fuses "The Fisher King" with "Romy And Michele's High School Reunion."

Haynes’ film has lovely performances from both actors, and a keen sense of time and place help, but the story is a little too shaggy and unformed to entirely hold the attention.

The Expendables 3 has its cake and shoots it: armed to the nipples with vast action and bulging A-listers, but over-over-blown and overcrowded. See it for Gibson’s big-bad.

What begins as a series of pleasant revelations and a deft example of genre defiance is nearly crippled by cliche in its second half, but The Rock's surprising dramatic magnetism will hold you until the final whistle.

A sometimes over-simplified but often affecting look at forbidden love.

A brave bid to recreate a modern American tragedy, with a revelatory turn by its lead actress.

Writer/director Jim Kouf certainly knows his police procedures, packing the movie with sharp dialogue and authentic set pieces. Unfortunately, the final half-hour, with its told-you-so conclusion, takes the knife-edge away from what clearly could have been a masterly thriller. Then again, just watching Tupac ponder death on the big screen is probably all the knife-edge you need.

The sheer number of dick jokes will soon numb you to their impact, but this is a fun, if patchy, alternative to the glut of ‘the world is about to end unless we do something’ comic-book films.

There is a frustrating absence of personality which means, for all her physical presence, this Major’s just not very engaging. It’s more a problem with the film than Johansson herself. A case, if you will, of it being so preoccupied with the shell, it forgot to bring enough ghost.

A by-the-numbers biography, this sheds little new light on an icon but features a soaring performance from Kingsley Ben-Adir.

Broader than Bad Santa and less consistently funny, it's still gleefully rude, crude and often a lot of fun.

Despite the gritty subject matter, combined with some clichéd set pieces, interest is retained right through to the bleak end, largely due to the direction and Refn's handling of the excellent cast.

A family comedy lacking the double level of humour that make the modern ones so successful. The jokes are obvious but never very far away. Russell puts in a worthy performance as the irrepressible Ron and Martin Short is typically neurotic as the father.

A patchy follow-up to the searing ’71 from director Yann Demange, but one which tells a compelling true story and offers a treat of a supporting turn from Matthew McConaughey.