Beautiful to look at but lacking a strong point.

This film falls down in it's attempts to do everything at once, so that a potentially horrific scenario is often played out to comic effect. It doesn't quite work and the film manages to undermine itself.

Despite feeling narratively let off the leash, Last Exit retains the passion of the novel, as well as the switch-blade characterisation.

Essentially a Split sequel with an Unbreakable topping, this is weaker than either of those films but still has a decent amount of entertaining and creepy sequences, most of them due to McAvoy’s high-commitment performance.

Like a lot of remakes, Downhill doesn’t quite make the argument for its existence. But career-topping performances from Ferrell and Louis-Dreyfus and an unusually frosty comedic tone make this a mostly rewarding day on the slopes.

Given such a cloying and utterly predictable plot, it's surprising that Three Fugitives works as well as it does. Nolte, all big shoulders and bashfulness shows a pleasant self-deprecating talent and copes very well with the array of humiliations ranged against him.

It’s an enjoyable, super-faithful cover version but Laal Singh Chaddha is like a box of chocolates: you know exactly what you’re gonna get.

An amusing scenario gets a big boost from winning performances all round -- which lift it well above other bride vs. buddy 'triangle' japes like, say, "You, Me And Dupree."

Fennell’s second feature is both evocative and provocative, with lashings of style but questionable substance. It doesn’t stick the landing, but the ride right before the nosedive is a properly enjoyable one.

This unholy concoction of ideas is unlikely to become a seasonal staple, but sift through the nonsense and there’s a surprising amount to enjoy in this bonkers Noel nightmare.

It was always going to be hit-and-miss, but Homemade flits between creativity and indulgence in documenting the current crisis. If you want to cherry-pick, Larraín, Lello, Nyoni and Sorrentino’s efforts are top of the class.

Though short on shocks and mild in horror terms, Fresnadillo's fantasy has a lot of heart and sincerity in equal measure.

Eschewing the linear approach, this erratic documentary occasionally drifts a little too close to self-indulgence. But it’s also a frank, funny and disarmingly deep portrait of a true screen legend.

The plot is predictable and the look unmemorable, but Johansson has nevertheless crafted a pleasingly old-fashioned character piece with just enough bite to balance its emotion.

Barry Jenkins’ verve only faintly shines through in an origin story that is mildly, not wildly, entertaining.

An entertaining romp through familiar cop-and-crim cat-and-mousery, bolstered by strong star turns from Washington and Crowe. Still, it has neither the intelligence nor the grip to jump from the merely good to the truly great.

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

Despite its hopeless predictability, this is one of those preposterous and sweet-natured family frolics that you find yourself enjoying in spite of yourself. Check your critical faculties in at the door and get stuck in.

A challenging and intelligent Swedish drama that still raises laughs.

This better-than-the-book adaptation casts quite a spell.

Jeunet himself describes the film best: Delicatessen meets Amélie. But we'd add that, while it's certainly breezy fun, it's not quite as good as either.

Once you get past the ridiculous story this is a fine example of De Palma's lush overkill style and certainly has a redeeming thread of silly sick humour.

It still feels old-fashioned rather than timeless and even on its family entertainment terms, it just doesn’t quicken the pulse-rate.

Driven by a boss Jeremy Allen White performance, Scott Cooper’s Bruce Springsteen biopic — just like its subject — finds its true voice once it stops trying to play the hits.

Interesting father-and-son dynamic, though not particularly memorable in the long-term.

An uneven but essentially likeable story about the joys of setting yourself improbable goals and the tribes you can find as a result, with a strong, committed performance from Bell at its heart.

This is silly and sentimental, but it’s also basically well-meaning and inoffensive. Best watched after quite a few grappas, or with your sprightly grandmother.

Tedious Western, that's a disappointment given the talent involved.