A modernised Bond is dragged kicking and screaming into the 70s.

An uneven, somewhat meandering thriller is given emotional pull by Mel Gibson’s excellent comeback performance. The lethal weapon hasn’t lost it.

Bitty and frustrating, its bigger laughs are set against some off-balance storytelling and crude comedy. Not one to take your nan to.

Intermittently funny but erratically structured, it's a rare disappointment from Shelton.

Come for the wise alien spider, stay for Adam Sandler at his sombre best in this strange, heartfelt sci-fi drama. Here’s hoping he continues to push himself to new highs.

Intense direction (Pekinpah) coupled with assured acting (McQueen).

Schlesinger, using slick camera angles and direction that bear a striking similarity to those of the old master himself, manages to pile on that tension in spades.

As with all great spoofers, you can feel the love the director has for Hitchcock, the thoroughness of his jokes vouches for that and the entire plot is loosely based on Spellbound. Perhaps, he was too devoted, the film lacks daring, it’s soft, Hitch would have sneered at such weakness.

Director Dennis Hopper continues the fumbling manner of "Colors" and the forthcoming-but-disowned "Catchfire," drawing out what ought to be a 72 minute B-picture into two hours and ten minutes of sweaty silliness with three pretty stars who can't quite bring themselves to be camp enough for the material.

Almodovar consolidated his status as a challenging and bold filmmaker by forcing Americans to drop their zany preconceptions of him and see his world through his eyes.

Whether or not the metaphorical aspects excite you, an unshakeable tolerance for high camp and lowbrow humour may be required to fully appreciate Almodóvar’s broad, bawdy comedy — even for fans of his early, funny films.

A clever and enjoyable wrapping-up of the time-travelling adventures.

Far less cuddly than expected, this unusual and elegant movie may have failed to connect with US audiences but it proves Spielberg is currently the most unpredictable director in Hollywood.

A smart, subversive but rather cold debut from Brandon Cronenberg that's short of the dark wit that lit up his father's early work. Then again, comparisons are hardly fair, especially when Cronenberg Jr. clearly has plenty of ideas of his own.

It benefits from a supernaturally engaging cast, but this treads too closely to the rom-com model to feel as smart or moving as Westfeldt's previous best.

It aches for more depth and warmth and humour, but this is spectacular sci-fi — huge, operatic, melodramatic, impressive. It feels the right Superman origin story for our era, and teases what would be a welcome new superfranchise.

Ghoulish, tense and utterly fantastical, John Carpenter's tale of shipwrecked spectres squelching their way through a fluorescent fog to wreak vengeance on a seaside town is a classic campfire yarn.

Passionate performances from De Niro and Jeremy Irons in this stark but thematically complex historical drama.

It’s always a good story, this time told more creepily than usual. Good, but not as good as The Muppets’ Christmas Carol, Scrooged, Mr. Magoo’s Christmas Carol or some great, classic live action classic versions.

Flawed but very original.

Fennell throws everything at this fever-dream adaptation, which massages the senses while showcasing Elordi’s ever-growing star power. If only its electrically erotic energy was sustained to the end.

Guy Ritchie’s defiantly ahistorical romp is part derring-do spycraft, part bullet-riddled action, part impish comedy, and all-parts silly.

Unpretentiously and likeable Peter Hyams is one of the few hacks still working at this budget level, and he relishes the chance to make an audience jump, not only with some neat monster effects and a pile of mutilated corpses but also with some subtleties of editing and lighting, plus one of the loudest jump-out-of-your-seat soundtracks in a recent memory.

A surprisingly rose-tinted look at a subculture that really should have been stamped out some time ago.

One man’s near-emotionless trip through an event that was the high watermark for US counterculture moves along without any real sense of purpose or pace.

An enjoyable if routine period crime picture with good performances from Jason Sudeikis and Lee Pace, but it lacks a personality and style of its own.

Good fight scenes, but a confusion of plot, culture and accents make this a lesser example of the sword 'n' sandal epic.

A mixed bag of bones and bodies, whose Southern Gothic atmosphere and superb performances — from Holland especially — are let down by the film’s lack of narrative focus.