Enjoyable nonsense with a superb enemble cast. Pure entertainment.

Non-Stop is weak sauce, a cheapie snoozer that not even heavyweights like Neeson and Moore can save.

Midnight is a mildly engaging hotchpotch of disparate ideas - courtroom drama, small town expos and witchcraft-infected magicking - but a far cry from Eastwood's best.

Despite a fun voice cast, this is a lazy effort that squanders its characters, and will likely bore anyone over the age of ten.

Perhaps it’s fitting that this story about babies has the attention span and grasp of logic of a newborn.

A film more concerned with 'how' than 'why' or 'who', Valkyrie would have benefited from more scrutiny and complexity. Still, once the bomb goes off, the thrills come in spades.

As furiously funny as it is helplessly horny, this lesbian road movie simultaneously feels exactly like a Coen brothers film — and entirely its own thing, too.

French Exit boasts an assured cast but drab direction and lazy writing ensure the characters are never as eccentric, cutting or interesting as the film’s tinkling score would have you believe.

Though the sketchy narrative could do with a bit of filling out, and the settings could be less gloomy, this is a memorable interpretation that benefits enormously from sound casting decisions.

Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.

No masterpiece, but a decent rental prospect. Twohy works the Sci-fi genre well yet again.

A slicky edited, white knuckle ride to the depths of depravity.

Cavill and Hammer are made for each other, but the film can’t always find the pyrotechnics to match their chemistry.

It wants to be a modern "Taxi Driver"; it manages to be the new Falling Down, with Foster as fierce as ever.

Farty, burpy, fall-y over fun tied to a pretty inconsequential plot. Your kids will explode with joy.

As with Platoon, Stone captures the horrific essence of an environment and transfers it to us without the need for prior knowledge. Dazzling filmmaking.

Rocky with robots? It's not quite in Balboa's weight class, but Real Steel at least has some heft. There's barely a story beat among the beat-downs that you won't expect, and sometimes the saccharine gets in the way of the spectacle, but on the whole this is enjoyable family entertainment.

A fitting tribute to Hunter and the demise of the American Dream, but first and foremost a thrilling and funny snapshot of a country on its knees and a writer finding his feet.

Fans of the Ramona Quimby books will be disappointed, but tween girls will love it.

A bulked-up James McAvoy dominates the screen in this razor-sharp Glasgow smile of a black comedy, packed with aberrant sex, hard drugs and maximum David Soul.

Though Spike Lee would clearly like this movie to remind you of ills-of-TV satires like A Face In The Crowd and Network (there's a spin on the well-remembered "mad as hell" speech), it comes out as a weird, unsatisfying hybrid of Robert Downey Sr.'s Putney Swope and Mel Brooks's The Producers.

Telling an unfamiliar tale in a highly predictable manner, this is a laudable, but lightweight tribute to golf's founding fathers.

While this combination of Michael J. Fox, light comedy and uncomplicated values must’ve looked fine on paper, on screen it doesn'’t quite make the grade.

Slow, ponderous and as shallow as it thinks it is deep, lifted only by an impressive opening and fine work from Damon and Howard.

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.

Both leading ladies display great willingness to send up themselves and Hollywood, and Willis' quiet nervous breakdown showcases his previously unguessed-at comic skills. But it's the pitch-black comedy and celebrity satire that make this so enjoyable.

It’s but a shadow of the original and a lesser entry in their (Coens) collection, but you are still blessed by flashes of black heart.

Bruising battles and some stirring performances make Troy enjoyable, if rather long. But if audiences can forgive the camp, they'll still struggle to empathise with the characters.