Well above the standards of your average romantic comedy, it's funny, sexy and smart. It's just not smart enough to stick to its guns to the end.

The sum of the parts is a cautiously optimistic view of love's power to re-shape lives, propounded with considerable appeal.

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.

Bemused out of the ring and brutal in it, Rocky has always been an uncomfortable hero, and it says something for Stallone's skill as a writer that he's been able to keep him going this long. Given the restrictions of the formula, Rocky V is a fitting — even graceful — way to finally hang up the gloves.

It has charm, comedy and a populist concept, but is structurally weak and too self-consciously multicultural.

A stylish portrayal of a literal power struggle based on truly interesting historical figures and events. But it tries to take in too much in too little time, when all it needed was to centre on Edison and Westinghouse.

Devoted Trekkers will have to see it to keep abreast of the ships’ logs, but Saturday night at the flicks fun-seekers are apt to concur this one only fires on stun.

Three films in, and the Lego franchise remains hugely entertaining — though it could do with being less of a chip off the old block.

From his early days doing stand-up at the age of 15 in Houston, Texas, to his membership of the Texas Outlaws comedy collective, to his supremacy as a brilliant controversist, American tells the story of comedian Bill Hicks' tragically short life through the eyes of those who lived it with him.

The Prom is a loud, proud glitter-ball of a film, and doesn’t pretend to be anything else. It stumbles in the second half and the relentless cheer is a little exhausting, but its energy and wit remains infectious.

The great circle of life has thrown up a gorgeous, star-studded story, but trading feeling for realism means that we lose something of the original film’s excellence.

A sequel that feels less necessary than willed into being, but that doesn’t mean it’s not pleasantly entertaining. There are more fluffy animals than in the first movie, more set-pieces and about the same number of laughs.

A truly unique fantasy, McKean’s screen debut is tangled but promising.

It has its pleasures but after the nuance and emotional hits of Love Is Strange and Little Men, Frankie is a disappointment. Not even la Reine, Isabelle Huppert, can elevate this one.

Essential stuff, even by the big man's considerable standards.

Stylish and gripping at times, this wry very-French gender satire is definitetly entertaining but falls down a little in the third act.

One of the best Amicus anthology movies, this is an enjoyable affair full of affectionate horror homage.

Probably the best Western since "Unforgiven."

It lacks filmmaking fireworks but Liberal Arts is a B+ for Josh Radnor: strong writing, great performances (Olsen is the real deal) and a touching, upbeat tale for the big-brained and big-hearted.

McKellen and Mirren, sharing the screen for the first time, are exquisitely matched in this slight but enjoyable yarn, which is like watching two magnificent vintage cars in a road race, without minding too much who wins.

The Last Samurai is much more fun than a mere history lesson.

This is an old-school exercise in shock and gore, with scary ideas and unblinking splatter.

Never reaching the heights of Malick’s ’70s heyday (what does?), Song To Song represents some kind of return to form following Knight Of Cups. It won’t convert the unconvinced, but it is beautiful, melancholic, audacious and well-played, a refinement rather than reinvention of a singular filmmaker.

It's an impressive performance from Chastain and a fascinating subject, but the film doesn’t delve deep enough into Bakker’s inner life.

Bardo sees director Alejandro González Iñárritu looking at the man in the (hall of) mirrors; the result is visually sensational but sometimes lethally patience-testing.

Leslie Dixon’s script is effective, though sometimes seems stranded between the domestic humour and the big issues being played out. Still, engaging, undemanding stuff.

Unpretentious, unsophisticated and all the better for it.

A meta-satire that doesn't quite come off.