Bold and beautiful, this is a mystery worth puzzling over.

Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.

Carrey's back on top slapstick form and brews up great chemistry with Leoni.

Lovely to look at and with some fun material not of Seuss' invention, but it's too hectoring, like reading an environmental textbook with jolly pictures.

Sadly, though, all this arthouse exploitation fails to reveal as much about contemporary Korea as, say, "Texas Chainsaw" did about the States.

Landis occasionally plays wonderful licks on the cliches, as in an original take on the familiar vampire-burning-up-at-dawn shtick, but like his earlier movies (An American Werewolf In London, The Blues Brothers) this keeps self-destructing on a story level. Of all entries in the recent vampire cycle, this is at once the most hung-up on horror history and the most revisionary in its rewriting of the mythology.

See-saws between straight superhero movie and parody, with layers of soap-opera fudge in between. A lot of solid scenes - but Hancock lacks the power of super-coherence.

Smart, fun, mid-list horror with Scream overtones

A captivating, and sometimes alarming, exposé of the business end of nuclear power. Watch as part of a behind-the-sofa double bill with Countdown To Zero.

Millar's warmth for literary influences continues to buoy his filmmaking, whilst a sturdy British cast and faultless period settings do Dahl proud.

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.

Erotic at times, certainly, but that's down to the appeal of it's stars and not the minimal clean lines vs. heavenly bodies approach of director Adrian Lyne.

So so adaptation of the Kipling story. The human performances are riotous but their animal counterparts are blank canvases yet to be coloured.

Caine and Duvall paired on screen would be worth the price of admission even if they were just reading the Yellow Pages.

Like Lansbury, the film has aged well and retains almost all of it's magic.

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

Good-natured, old-fashioned family entertainment, but Two Brothers never quite manages to strike a successful balance between fantasy and reality.

Strong performances and direction make the most of a lightweight tale.

A mix of the fascinating and the frustrating: some of the dishes are exciting and interesting, however, 108 minutes of detail causes this documentary to fall short of its potential.

This looks and sounds superb. Isabelle Huppert and Pascal Gregory are splendid. But the over-archingly smug sophistication of the enterprise robs it of some much-needed human interest.

Compared to similar genre offerings, this ain't much cop. But standing alone, it's an entertaining and amiable film.

Hustle follows a familiar game plan but executes it well, with a love of basketball culture shining through — alongside a likeable Sandler performance.

The talking heads aren’t particularly revealing and there are some strange filmmaking choices. But McEnroe makes for incredibly likeable company and the tennis, as ever, remains sublime.

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.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

Don’t get too caught up in the all-too-familiar plot, just savour Jake Gyllenhaal’s powerhouse performance in a riches-to-rags-to-redemption sports movie that punches well above its weight.

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

Though a forgettable villain and some uninspiring set-pieces sometimes hinder The Adam Project, Reynolds and Scobell’s cracking performances and the film’s surprising emotional depth make it worth a look.