Highly amusing and well paced, an engaging fairy-tale with a slightly sinister underbelly.

That this is a patchwork quilt of a screenplay (written by five credited writers) is apparent in its use of little bits of this and little bits of that. Did none of them notice, looking at the big picture, that it's unbelievable?

Splendid landscapes and interesting faces - the usual virtues of the Western - keep the film burbling along, even as the actual plot is falling apart.

There’s trouble in this paradise: bleak without much of a point to make and bloody without any particular reason, this is an odd attempt at satire that takes a fascinating slice of real-life stranger-than-fiction history and somehow makes it less interesting.

Clearly not a |Disney classic as almost no-one has heard of it, this is vaguely enjoyable 70s hokum.

This has the raw material for a decent rom-com, but the aimless structure and ambiguous tone undermine both humour and romance.

It doesn’t have the surprise factor of the last film and sometimes feels rough around the edges, but The Next Level pushes its body-swap antics even further to deliver just as many laughs.

A touch less fresh than the original, but this is still bursting with energy, emotion, warmth and imagination. It knows the way.  

Sharp, funny and strongest when it stands on its own two perfectly manicured feet, this snappy musical successfully updates the original Mean Girls template for a fresh audience.

A curiously resistable drama, despite several strong elements - the most notable being newcomer Idina Menzel.

He may look the part, but Timothy Dalton fails the boots, the scuba gear, or the automobiles left him by Moore and Connery.

A solid conclusion to an unlikely trilogy and a fitting end to Robert McCall’s character arc — with Washington still entertaining as a deliverer of slick justice.

The Hobbit plays younger and lighter than Fellowship and its follow-ups, but does right by the faithful and has a strength in Martin Freeman's Bilbo that may yet see this trilogy measure up to the last one. There is treasure here.

Another summer threequel, another case of slipping standards – not so much in the visuals, which remain predictably impressive, but in the all-important gag rate. To waste both Donkey and Puss is a crime…

A strong cast and impressive action sequences can’t find subtleties or surprises to enliven a rote period disaster movie. It hits the right points, but mechanically.

Cage and Wood make a hugely enjoyable double act (has True Detective season three been cast yet?) in this deceptively dark thriller with comic undertones, arguably sunk by a seismic tonal shift that not only wipes the smile off your face, but leaves a bad taste in the mouth. Tune into its offbeat frequency, however, and there is much to enjoy.

Reynolds was coasting at this point of his career, with zero risk-taking it ends up as a soulless, below-average movie.

Better than Ghost but not as good as When Harry Met Sally, here's a dating movie where the other woman really should have got her man.

Although sometimes it gets bogged down in the details of drilling, The Hummingbird Project extracts enough entertainment value from an unpromising premise, greatly helped by Jesse Eisenberg finding the humanity in his hustler.

An eerie and unsettling adaptation of Judy Pascoe's novel that impresses more for its atmospherics than its narrative.

Chekhov is notoriously difficult to film and this adaptation boldly taps into the play's mordant wit. But the fidgety and over-emphatic visuals detract from the themes and the stellar performances.

With Ember's hydro-electro-punk charms, Kenan's convinced us he's one of Hollywood's most exciting (and excited!) visualists. But on the evidence of this, his storytelling skills still need honing.

It doesn’t all land, but The Night Before is largely a salty, sweet jingle ball.

Stylishly realised against a backdrop of violence and faded Hollywood glamour, Drew Pearce’s vision of the near-future is laced with intrigue and dark humour.

Compared to its ultra-slick predecessor, it's a bit of a mess. But it maintains a breezy sense of fun and certainly looks as cool as its minus-one equivalent.

Multi-hyphenate Justin Chon has crafted an impressive melodrama, rich in Louisiana atmosphere and with a timely message, but Blue Bayou is marred by its reliance on symbolism and sentiment.

The most disappointing of the original three episodes but still charming and thrilling.

While cynics may find it twee, Mendes fans should greatly enjoy this (gently) surprising change of direction. Go in with the right frame of mind and you’ll leave with a big, goofy grin on your face.