Swinging between ice and space, Clooney has upped his directorial ambition and delivered a big-scale, big-hearted story, even if it struggles to match the films it riffs on.

It’s the sort of picture you'll either queue all night in the rain to see twelve times or avoid like a Wayans Brothers Retrospective for the rest of life.

Political chicanery and psychological mystery entwine with some stunning underwater sequences but don’t gel entirely satisfactorily.

An unsatisfying conclusion, but an inspirational story deftly handled by Freeman.

Inoffensive fun, but unlike its paperback forbear, the cinematic Ferdinand is unlikely to stand the test of time.

Director John McTiernan rigorously avoids anything that might conceivably be exciting.

While its tone occasionally wavers and there are some wobbly performances, this has moments of true lightness, and a welcome sense of whimsy often missing in the costume genre.

Despite moody flashbacks to the Nazi takeover, Hirschbiegel draws a blank. Elser remains an enigma, a great what-if whose German torturers cannot comprehend acted alone.

Stunning, if occasionally meandering, River provides waves of staggering visuals and a thought provoking, invigorating, environmental message.

Taika Waititi’s most daring film isn’t his most successful. But among the tonal clashes there’s real hope, humanity, and no-bones-about-it Nazi-bashing at a time when that’s depressingly necessary.

A defiantly avant-garde take on commercial chart-toppers. It’s not for everyone, but it deserves to be: a gorgeous fusion of film, fashion, faith, and certified bangers.

While never as trailblazing as its subject, The Express is a worthy addition to the lengthy canon of sports biopics

By far the best Twilight film to date, Slade should satisfy the fan base while opening up the series to more sceptical viewers…

Despite a final, tacked-on helicopter denouement, it remains a gripping, relentless, supercharged slab of fun that knows no bounds - New York is its playground and the sky's the limit.

A lean, mean scare-machine, and a surprise contender for horror of the year. Seek it out. Then, for God’s sake, buy a bedside lamp.

So horrifying it caused a number of hardcore journos to storm out of its Sundance screening, btu if you've got thick, thick skin, you might find something here.

Neither a splendid phoenix from the ashes nor a complete failure, The Man Who Killed Don Quixote is erratic, occasionally inspired, occasionally dull, but shot through with a grandiose sense of ambition. Plus, Driver and Pryce add some magic along the way.

Eastwood’s back with a look at manliness filtered through the wisdom of aging. It makes the odd stultifying stop and falls into several cliché potholes, yet Cry Macho ultimately finds its way.

Celebrating the triumphs of a brave female athlete, and boasting a strong central performance from a transformed Sydney Sweeney, Christy is a well-meaning but meandering feminist parable.

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.

If "Ichi The Killer" stressed the extreme natureof Takashi Miike's cinematic sensibility, Gozu hammers it home… with a blood-spattered mallet.

Offers plenty of easy nostalgia and Duris charm.

Despite some good moments, Agents J, O and K are missing an E.

In anchoring the whimsy to something more heartfelt, Burton is greatly aided by Billy Crudup, who underplays potentially cringeworthy bedside scenes with his dying dad.

Aided by a dialled-down Gordon-Levitt, Stone skilfully demystifies one of the Obama era’s most compelling stories. It’s a welcome return to form for a cinematic sleeping giant.

An uneven mix of impressively executed, violent clichés about good ol' boys defending the American right to flout the law.

Croghan accurately illustrates the frustrations of a charismatic bunch of characters who are frank, funny and full of life.

Despite strong performances from the leads, when it comes to pacing and power, it’s the Danish original that edges it. Still, a sturdy and affecting remake that brings a powerful story to an even wider audience.