Dylan Southern’s film lacks the complexity of Max Porter’s book. But there are strong scenes, and Cumberbatch delivers a performance to crow about.

It’s often enjoyable, occasionally very funny, and has an energy and verve sorely lacking from Fleischer’s last few films. So, while it’s simply, plainly, not as good as the first movie, Zombieland is no longer the odd one out on Fleischer’s CV.

Three films in, and the Lego franchise remains hugely entertaining — though it could do with being less of a chip off the old block.

We expect oddball wit of a higher calibre from Guest and co., although their inherent, zany likeability means plenty of laughs.

It's aimed squarely at the tinies, but there is charm enough here to make it bearable for adults too.

In some senses T2 shares elements with its Terminator namesake. It’s inventive and full of surprises. But unlike Cameron’s sequel, it doesn’t reimagine the original in quite the same glorious way.

Entertaining in places, if only for the fact that unlike most 50s si-fi films, the aliens are treated with some sympathy.

A musical with almost 100% sung verse is not for everyone but Kendrick is as bewitching as ever.

Though somewhat flawed and less artistically daring than it could be, Charlotte still makes for an emotional, humane viewing experience.

Forte and Peake excel in a notable debut from Green that marks her out as a director to watch.

It may not truly capture the complexities of its source material but One Day is funny, winning and entertaining - if little else.

Although sometimes baggy and uncontrolled, The Outrun is a sensitive, non-judgemental portrayal of addiction and mental illness, anchored by a typically transcendent performance from Saoirse Ronan.

The few weaknesses in the plot can be overlooked as The Vow makes for a wonderful - if a bit teary - romance that is brilliantly acted.

Slavishly follows every rule of the kids’ fantasy franchise genre, but it’s a well-executed and imagined world. Bet the sequel’s darker.

The final shot, in particular, is awesome, and confirms that the sooner Cameron gets back to making proper movies, instead of Boys’ Own diversions, the better.

Witty and articulate but the continual editing devices can distract from the momentum.

More engrossing than both "Sully" and "The 15:17 To Paris," Richard Jewell is enlivened by Paul Walter Hauser’s breakout performance yet undone by a lack of subtlety and real dramatic wallop. Solid, dependable, very late period Eastwood.

Excessive and self-indulgent it's true but still the Pythons at their worst are still worth a look.

The Real Blonde has lost that certain something that earmarked DiCillo's earlier, more offbeat outings, resulting in a film which is pleasant rather than innovative.

Pleasant, forgettable.

But for anyone willing to swallow a large pinch of salt there is much to enjoy in the film's numerous nail-munching, white-knuckle set-pieces variously employing firetruck ladders, subway trains and a finale so ridiculous that it just... might... work.

The premise is slightly bizarre but there's enough wink-and-a-nod charm in the performances to earn it a pass.

The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.

Singer's absence is felt but not fatal. By adding too much new blood Ratner loses some of the original DNA, but with its nifty set-pieces and a few nasty surprises, X3's still a worthy enough sequel to ensure it’s no Last Stand.

Funny and scary - and sometimes both at once - it lives up to the original, even if it fails to surpass it.

Amiably silly and impressively gory, this lives up to both its low-budget inspirations and its rocker stars.

It starts off very sprightly and witty and maintains a high giggle-count throughout.

A gentle, odd little Australian fable. Warwick Thornton’s film has a lot of thoughts to process, and while they don’t always cohere, the performances from Blanchett and Reid keep it interesting.