An admirably unsentimental biopic with an excellent central performance, but it doesn't impact as strongly as it could.

The tension between the intended tribute and the lack of success on-screen makes for a muted viewing experience, but as a document of what were likely the waning days of American empire, and the curious priorities its agents chose during them, this is fascinating.

Part 4, to its credit, is the noisiest. Disappointingly, it's also the worst: not bad, just not as good.

As an exploration of cultural discord, Nagisa Oshima's film is pretty thin stuff, despite its reputation. Bowie is a potent irritant, but Tom Conti is solid in support and Sakamoto's mesmerising score sparkles anew.

Without a doubt, hard hitting and thoguhtful, but Clarke's style here (as it would continue to do) hints at something altogether more disturbing.

An austere, cerebral reading of a book which is unfettered, blood-bolstered and wildly sensationalist — Lewis is the father of torture porn, not a master of subtle chills. It’s interesting and unsettling, with a charismatic lead performance, but nowhere near as shocking as it should be.

What Above Suspicion lacks in flashy direction, it makes up for in strong performances and gripping true-life material to draw from.

Scoop is not quite the prince that was promised. But there are some gripping moments, and some extraordinary performances — especially from Sewell and Piper.

Sweet-natured, undemanding family fun.

A brainless, bombastic, bomb-tastic action romp, this is absurd on almost every level, and far more fun than it has any right to be.

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.

Patchy and in need of a rigorous edit, but amid all the weeds there is some ripe comedy (satire, even) for the plucking.

An enjoyable escapade and a great introduction to the forthcoming series - just not the seventh Star Wars film fans were hoping for.

A superb Kidman takes off the handbrake, and most everything else, in Daniels' southern-fried follow-up to "Precious." Watch it with "Killer Joe" for the ultimate sweaty, twisted double-bill.

A lot of fun.

To say this is the best of the Ernest series is no great compliment, but there are enough knowing film jibes here, and ample seasonal tomfoolery, to keep a family in their seats.

For veteran viewers who’ve seen it all before, it’s not exactly the Second Coming. But novice nunsploitation audiences might find this habit-forming: a stylish enough entry-level initiation.

As a film in its own right, this quirky Ray Harryhausen tribute (a skeleton army!) rocks. As an Evil Dead film, though, it’s ultimately not funny, scary or gory enough.

A charming animation with funny — if samey — moments and a quality voice cast.

Utterly mindless, but on its own snap, bang, and wallop terms, it works well enough.

A sub-Hitchcockian thriller with enough forward momentum to thunder over its many plot holes, The Commuter is a surprisingly enjoyable if instantly forgettable crowd-pleaser that takes the audience for a ride — in more ways than one.

Disappointingly dull given the explosive subject matter, this at least attempts to get a message into the mainstream. An extra star for effort rather than execution.

The film is a little too long, but makes up for it with a strong cast and enthralling action.

One or two serious scares and some excellent creature design work make this a superior British horror sci-fi.

An odd one. Rogen's latest clown is an angry, confused man who you never feel entirely comfortable laughing at. There are laughs -- you'll just feel guilty afterwards...

"Salmon Fishing In The Yemen" and "Chocolat" man Hallström is an old pro at navigating this kind of undemandingly dramatic yarn and does a pretty fine job with Sparks' story.

In what could have been a definitive tribute to Whitney Houston’s career, surface-level execution means her story is not quite done justice. But Naomi Ackie's performance shines above everything else.

The script hasn't aged well and their's an overdose of the ominous, but when Ford forgets about religion and concentrates on squealer-on-the-run thrills, the film still has a real charge.