A sort of kiddie creature-feature with a big red heart, Clifford offers solid family fare with moments of throwback charm. Not quite a 12/10 on the WeRateDogs scale, but still a good boy.

Hitchcock for dummies: brisk, jolly, well-played but oversimplified.

As with many high-concept horrors, it falls apart as it grasps for an ending, but there's still enough dread, and three great central performances, to just about carry it through.

Disappointing given the talent and situation, dull as ditchwater and historically suspect, another "The King's Speech" it definitely is not. Nice costumes, though.

Though the clumsy geometric tentacle that does most of the machine’s evil will cries out for morphing, this is remarkably prescient in its tackling of issues the cinema is only now catching up with, and Christie adds depth to the lady-in-peril heroine. Well worth reassessment.

A Twilight Zone–worthy premise, subtly sold by ace make-up effects, makes for a decent-enough thriller, intriguing in the moment but ultimately too timid to say anything meaningful about ageing.

A word of warning: this is not the knockabout comedy the trailer suggests. Instead, it cleaves closer to what you expect from Burton: darkness, quirk and Johnny Depp on great form. A step up, then, from Alice In Wonderland and Charlie And The Chocolate Factory, but not tip-top Tim.

A fairly dappy and overlong attempt to turn Prince the then emergent rock-funk superstar into a movie star.

So quirky that it’s almost in danger of collapsing under the weight of its own antic whimsy at times, but a comic delight destined for cult adoration.

Pelham One was first class. Pelham Two stuck to the schedule. Pelham Three needs a bus pass.

Another mean, violent and decently acted slab of Ellroy-flavoured criminality, with an impressively battered Keanu Reeves, but Ayers is no Curtis Hanson.

A fast-paced, entertaining, if somewhat on-the-nose mélange of thriller, satire, and drama, this is Jodie Foster’s best movie as a director. And we’d happily watch any TV show George Clooney wants to host.

A glowing tribute to The Beatles and their music, this is both a toe-tapping pleasure to watch and a smart, occasionally scathing look at how we get things wrong.

Although AWIL's comedy/horror elements aren't always cosy bedfellows, the film retains its original, quirky charm. Great effects for the day, too.

Michael Bay’s tribute to the emergency services (which involves blowing several of them up) is noisy, messy and frequently absurd — yet still somehow his most gleefully entertaining effort in at least a decade.

Election Year maintains the nervy tension that made the first films entertaining, but doubles down on the political metaphors, overwhelming you with its soap-box rhetoric.

Justice hasn't been done. The heavens haven't fallen. But skilfully prodding and probing at the edges of America’s greatest crime scene, Oliver Stone reinforces the argument that this was far from an open-and-shut case.

Some Host or DASHCAM fans might be disappointed that Rob Savage has opted for something ostensibly more conventional — but The Boogeyman shows he can also make an involving, ungimmicky ghost story with perfectly constructed menace and mayhem.

Making no secret of the fact that he has "freely adapted" the novel, writer Jean-Claude Carriere and Milos "Amadeus" Forman have come up with a visually mouthwatering epic treatment: beautiful, opulent, sumptuous.

It may come dressed in borrowed robes, but this is a no-holds-barred horror with real bite — and surely the start of a new franchise.

A new take on Peter Pan that actually works, delivering all the visual richness you’d hope for from the film-maker behind Beasts Of The Southern Wild.

It can be seen for what it is: a well-crafted entertainment that boasts excellent performances (particularly from Dillane) and fully engages the mythology of sport, reminding us that in its transcendent moments, even a tossy one like golf has the power to capture the collective imagination.

With suitable suspension of disbelief this makes for agreeable enough nonsense.

Page shines bright in an otherwise formulaic story, but this is still a thoughtful, sensitive portrait of a young man coming to terms with his sense of self and the love he deserves.

Not to everyone's tastes then, but for fans of the show - big, big laughs.

This does a serviceable job homaging '80s actioners but not a whole lot more. Go for the explosions, zone out for the plot.