Although in danger of being unable to decide what kind of film it wants to be, a well-written script and well-judged performances make this a family outing worth taking.

A familiar tale of a quirky childhood is delivered with little in the way of freshness or truth. Still, the performances by Larson, Harrelson and Watts rescue it.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Slightly better than its predecessors, Sonic The Hedgehog 3 works hard to entertain — it has the odd bright moment — but overall lacks surprise, freshness or anything to set the heart racing. It’s a Saturday-morning cartoon writ long.

Surprisingly watchable for the third sequel and despite its general predictability it's entertainingly inventive.

A very superficial look at what it may be like trying to romance someone on the autistic scale.

A grand folly, but lots to love.

The vital story of a singular trailblazer is brought to life with surprising ambition and a committed Rosamund Pike, but such inventive methods confuse the crux of Marie Curie’s intelligence, with alienating storytelling rendering her humanity impenetrable.

Thanks to Rushdie's sensitive handling of his own material, this is an adaptation big in both ideas and heart.

A decent, well-cast and mounted adaptation that hits all the right notes but plays them in a respectful, muted monotone.

While [Penn] has all the heavyweight America-gone-sour themes and confused characters found in roadside movies like Five Easy Pieces, Electra Glide In Blue or Thieves Like Us, he misses the eccentric and exciting spikiness that made them more than just gloomfests.

Its wackier moments sometimes feel like they have more bark than bite, but as an uncommonly honest and authentic depiction of motherhood, Nightbitch will come as sharp relief to mums everywhere.

Okay, it isn't the graphic novel, but Zack Snyder clearly gives a toss, creating a smart, stylish, decent adaptation, if low on accessibility for the non-convert.

It's not the plot that disappoints, it's the poor dialogue between action sequences. Sadly another film to file under not as good as the book.

There’s little interest in probing characterisation, but the plot progress is steady and the performances likeable.

Despite a few early narrative bumps, it’s hard to imagine what more you could want from a movie with this pairing. Marvel has found its mojo again.

All three leads are genuinely appealing here, with Ryder once again acting her bobby sox off and giving yet further reminder of just how sorely she was missed in Godfather III.

A hanging-out movie that’s as close as you’ll ever get to soaking up the time, the place and the attitude. Too slack for mainstream audiences, though.

Fun, funny and affectionate, though it packs the emotional wallop of an undernourished high school nerd.

This is maximum-gloss entertainment with its fair share of tricksy rug-pulls. But, like one of the neon-coloured cocktails Smith drinks in it, it’s more of an immediate rush than something you’ll remember in a year.

A beautifully designed but overly formal biopic that can't match the greatness of the artists it depicts.

An occasionally interesting but over-stretched attempt to recount Putin’s rise to power, best appreciated for the few moments in which Jude Law appears.

On paper it looks like a gem – roaring 20s setting, verbal fireworks and a silly sport in its rude infancy. In practice, it's way off the pace, far too slow for its screwball pretensions and the kind of film that confuses pastiche with period detail.

An engaging, if familiar, mix of teen rites of passage, the fun of friendship and mooning over a cool girl. Still, Nat Wolff and Cara Delevingne make for a watchable duo.

Having taken such pains to establish Tom’s Finnish background and its attendant dangers, Karukoski hurtles through the sketchy American section without exploring any of its crucial issues in sufficient depth.

This is just as unevenly plotted as the original, lacks even the element of surprise, and is not by any reasonable standard “good”. Between gooey and ghoulish, there must be better options.

Writer-director Gerard Johnson and chameleon-like star Ferdinando continue to impress with their strong collaboration here.

Captures the brash boldness of the novel, but not the literary wit. A misguided affair.