The sustained furore of humour, visual panache and headlong momentum makes for dazzling cinema.

Broader and more accessible than either "Shaun Of The Dead" or "Hot Fuzz," Paul is pure Pegg and Frost - clever, cheeky and very, very funny. You'll never look at E. T. in the same way again.

Slightly jerry-built reconstructions detract from an intriguing film with a unique angle on the country legend.

This is intentionally jagged but nevertheless frustrating, a little too self-satisfied for its own good. Yet there are some great moments and, when it relaxes a bit, it has charm to spare.

A compelling story bolstered by engaging performances from Jessica Chastain and Daniel Brühl, let down by occasional awkward tonal shifts and clumsy plotting.

A handsome epistolary affair gives way to a more formulaic matchmaking story, in an alluring romance that loses its shine. Maybe some things are better left in the past.

This collection of tired jokes is enough to prompt the question, “What day did the Lord create Spinal Tap II: The End Continues, and couldn’t he have rested on that day too?”

The Thing is a peerless masterpiece of relentless suspense, retina-wrecking visual excess and outright, nihilistic terror, placing 12 men at an Antarctic station while a shapeshifter takes them over one by one.

It doesn’t always work, but an unexpected, perfectly pitched bad-guy turn from national treasure Hugh Bonneville makes I Came By just about worth stopping by for.

An ambitious thriller from Pawlikowski assisted by excellent performances from Hawke, Kulig and Scott Thomas.

What it's really about is taking a second chance to make good on old regrets and dead hopes. Never mind the baseball, this is one for the heart, made beautifully.

Where The Hole really scores — and this is rare in modern horror — is in its lead characters.

There was so much potential, yet when it came down to it, Coppola made his Dracula too old to be menacing, gave Keanu Reeves a part and took out all the action. So all we're left with is an overly long bloated adaptation, instead of what might have been a gothic masterpiece.

Turn off the snark-o-meter, and this is a return to form for Marvel, introducing a new hero we'll be happy to see again in, oh, about a year or so.

For all the enthralling visuals and action, the film feels garbled.

Despite good performances and an interesting milieu, The Wedding Guest doesn’t deliver as an exciting genre piece or thought-provoking drama. Michael Winterbottom is a master in many areas but the thriller seems beyond him this time.

Expertly handled by director Doug Liman, wittily scripted, and boasting a wonderfully original take on the action hero archetype, this new Road House is a total riot.

Undemanding, entertaining and thoroughly enjoyable.

De Niro's little known masterclass makes this essential viewing.

With such a sprawling and over the top plot, it's hard to remain focused on what's important. Bertolucci is so concerned with the epic quality of the film that he forgets to give it any real substance. Reeves doesn't do himself any favours in his turn as the unconvincing Buddha either.

In depicting the Johnson County War of 1892 (immigrants versus cattle barons), Michael Cimino delivers soaring ambition and scale, but always syringed with a deep sense of regret.

While Michael Pearce’s second feature may not deliver quite the same wallop as his debut feature Beast, it demonstrates the same mastery of filmmaking craft and another incredible performance from Riz Ahmed.

If there's a criticism to be made, it's that the script doesn't push itself far enough with the moments in which it excels.

A romance not nearly as seductive as its lead actress.

Comedy for grown-ups that sometimes struggles with its ambitious brief, but always remembers that the best laughs contain the odd shard of shrapnel.

Think Donnie Brasco, with the IRA instead of the Mafia. Jim Sturgess dominates with a star-making turn, although some stylistic slip-ups let him down a little.

An impassioned and imperfect portrait of teenage grief and heartbreak, Chemical Hearts takes its audience seriously. For every teenager who has ever felt alone, this feels like a tailor-made care package.

Army Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. When he aims for more emotional territory — like the rather trite guilt-to-redemption arc between Scott and his estranged daughter, played capably by Ella Purnell — we start to feel the weight of that running time.