Earlier Clancy films alternated between the dull and the ridiculous. First-rate writers like Steven Zaillian and the great John Milius have managed to make this considerably meatier.

Conventional to an almost eye-watering degree, this could have used a little more effort to subvert the genre - and a little more Terence Stamp.

What director Lehmann has made is essentially a multi-million dollar cult movie with great effects, a witty script and some good performances, but although some of the eccentric (and occasionally slapstick) humour may not appeal to a mass audience, it is certainly one of the more original blockbusters coming out this summer.

This spectacular adventure sometimes wanders across the borders of invention into artificiality, but finds its feet when it focuses in on its characters and their relationships.

The father and son chemistry give this blackly-comic slice of social realism a dose of Ealing-lite wit.

A largely painless viewing experience — but it could have been far more pleasurable.

A quirky road-trip movie with things to say. A return to form for Depardieu too.

Anne Hathaway delivers another likeable performance in a tweenie treat that has enough smarts to keep older viewers engaged, too.

Some of the tension drains from a slow middle act, but it remains a gripping tale of sleuth-work and moral awakening.

Predictable and pleasant, with enjoyable performances.

A satisfaction conclusion to the trilogy.

There are some decent performances from the motley crew of students, and Banderas does well despite an underwritten role. But the breakout star here is the dance.

Alex Garland once again shows an unmatched ability to conjure a beautifully uneasy atmosphere, the sense of which lingers on past the closing credits — but the substance underneath doesn’t quite connect.

Gas Food Lodging's poster sums up everything the movie isn't about. In a woeful effort to put a sexy spin on proceedings, lone Skye and Fairuza Balk stare out with dodgy come-hither pouts, and the tag line ("When Shade's good she's very good, but when Trudi's bad, she's better") succeeds, with just a dozen words, to undermine the integrity of the whole damn shooting match.

An interesting new take on a very well-known tale and a praiseworthy act of revisionism, but one which doesn’t ultimately deliver on its early promise.

Joshua Oppenheimer’s uncompromising, apocalyptic odyssey thoughtfully unpacks the stories people tell themselves to survive — but don’t expect to be tapping your feet to its collection of lacklustre songs.

Jaa’s period ‘beatquel’ is thick on action but thin on plot. Awesome final fight, though.

It's loud, it's stupid, yet against all the odds, enjoyable.

Very 'talky', but the three lead females are excellent, as are the costumes and sets.

Freundlich's intelligent, very funny take on male-female relationships manages the not inconsiderable feat of being both jaded and appealingly fresh.

Never scratching below the surface "facts" of the story, this is too thin and unsophisticated to truly compel.

Amusing and imaginative and, of course, beautifully animated, this movie has all the superficial hallmarks of a great Disney picture.

There’s terrific chemistry between the leads, but an episodic structure set over 20 years is too sprawling to really allow for a connection.

This tale of Mexican poverty refuses to lapse into sensation or melodrama.

Echoes of "Waiting To Exhale" are obvious, but this is a more smiley affair altogether, with perhaps a spoonful too much sugar stirred in at times, and emotional development often mixed from the most basic of recipes.

A very thin story stretched out for over two hours, this is a melange of the wonderful and the pompous.

Not as strong as the original, Rams is perhaps best described as a feature-length version of one of Sam Neill’s social media shorts; funny, a little bit rambling, winning.

It’s instilled with the bite and bark of Bilko’s capitalist fervour, and has a fun line in cool, snappy dialogue, although never intending to be quite so broadly a comedy.