The first film was so middle-of-the-road that most have probably forgotten it existed. Its sequel creates a more lasting impression, with vibrant animation and a wackadoodle sense of humour.

A sci-fi which balances big themes and claustrophobic action with apparent ease.

The main problem is that the supposed good guys are all such reprehensible toads it’s impossible to care whether they get to bring down Willem Dafoe’s charismatic, polo-necked super-crook.

The result never comes close to being hilarious, merely cute in the corniest way. That it is more of a pleasure than it deserves, is down to the light, bright leads. Cage and Fonda are both charming, though he’s particularly endearing in his uncharacteristic but welcome turn as a soft-hearted, irresistable darling. The slightness is a disappointment, but the concoction is still very sweet indeed.

Like its slack-jawed clones, The Island is full of energy and incredibly pretty but burdened with only the minimum of smarts.

The scares and monsters are effectively conjured, but if you’re not familiar with Austin Schwartz’s source material, you may be left a little cold.

It’s not as scary or as effective as the first film, but points for the performances, and for trying hard to do something different and fresh.

There’s a wobble about how committed this is to being a scary movie rather than an inside Hollywood drama, but — like Exorcist III — it springs one great lunge-out-of-an-unexpected-corner-of-the-frame jump scare.

It doesn’t hit the heights of Raw and Titane, but strong performances and the moving familial drama mean Julia Ducournau’s third feature is still an impactful watch.

Guest star Dan O'Herlihy steals the film as a Celtic joke tycoon (‘the man who invented sticky toilet paper and the dead dwarf gag’) who hates the way American kids are despoiling the religious spirit of Samhain and decides to teach them a nasty lesson.

This would have been a striking calling card, and it’s still an impressively solid piece of genre filmmaking with great cinematography and score. But there’s not much here of the ambition of Animal Kingdom, leaving Michôd in ‘difficult third movie’ territory. Let’s hope he gets a move on this time.

A semi-sequel to the acclaimed "Baraka," Fricke delivers another stunning spectacle in 70mm, interspersed with some tiresome sermonising.

Strong performances keep the viewer guessing as much as our heroine, but the character drama recedes as the thriller element builds, to its detriment.

The sum of the parts is a cautiously optimistic view of love's power to re-shape lives, propounded with considerable appeal.

Some interesting creative choices make this more a curio than a great film.

Film is elegant but never beautiful, a pretence at Lean’s magnificence contradicted by a lavish but anachronistic score by Vangelis. It is the words and performances which excite; their director is out of his depth.

You can really tell that the people making this film had a lot of fun doing it. The plot is thinner than a compressed wafer, but who cares? It's fun and cheap laughs all the way, and that ain't no crime.

Lemmon and Maclaine fail to reproduce the chemistry from The Apartment but this slight film is not as ignorable as reputation suggests.

Well-shot thriller but with a weak performance from Beatty.

Hellboy might not have the name-recognition factor of the Spider- or Batmen, but Guillermo del Toro brings the audience swiftly up to speed on artist-writer Mike Mignola's comic book anti-hero.

Warmly funny and historically curious, Sally Hawkins’ spirited, humane performance helps overcome a slight lack of dramatic tension.

Solid, mature and finely acted, but intermittently daft.

A fond and always accessible portrait, but the lack of objectivity and drooling images of Gehry's work deprives this documentary of any objectivity.

Despite superb performances by Kathy Bates and Jennifer Jason Leigh, a limp, almost TV movie trite, climax never comes near delivering the shocks it should. A shame, as what could have been superb, is merely average.

Okay, it may not be Shakespeare, but it's a welcome bonus, for neither Chow or Wahlberg looks out of place in crossfire that would likely leave trained military personnel shell-shocked.

It's hard not to be seduced by this folky yarn.

Despite moody flashbacks to the Nazi takeover, Hirschbiegel draws a blank. Elser remains an enigma, a great what-if whose German torturers cannot comprehend acted alone.

A farcical romp but, being French, it's hugely glamorous and dripping with style.