An odd but frothily entertaining genre cocktail, which coasts on the charisma of its two biggest names and keeps things just fun enough to forgive its considerable lapses in narrative.

The Godfather II of manwhore sequels, this improves upon the original in every way. Especially if you're drunk.

Despite an imposing performance by Renée Zellweger, Judy never exposes the dark heart of Garland’s last years, creating an enjoyable backstage drama movie while failing to get under its protagonist’s skin.

A fast-paced and hectic kitchen thriller that, though it tries to spin a few too many plates, pulls you deep into a fascinating, detailed world most of us know little about.

Excellent performances from the cast elevate this otherwise slightly flawed a hokey interloper story.

A high-altitude horror – think a Bram Stoker reworking of *The Shining* or Shutter Highland – of real craft. Ultimately, though, the plot turns out to be thinner than the air.

May be contrived and overlong, but it is also technically distinctive and utterly compelling in its analysis of Swedish attitudes towards race.

It takes a while to get going and never outstrips its theatrical origins but gets by on great actors working through meaty scenes. See it for Streep vs Redford alone.

Crude, patronising and mawkish, but rescued by excellent performances, beautiful landscape photography, and hard-to-argue-with themes of natural justice, delivered with a punch.

Lost Transmissions is a clear-eyed view of schizophrenia, aided by a powerful Simon Pegg performance yet hamstrung by some woolly filmmaking and a whiff of pretension.

Don't expect the puppet to wisecrack - there's more pain here than in "The Passion Of The Christ." It never quite comes together in a satisfying way, but it's still a brave, strange, brain-stirring piece of filmmaking.

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

A romance not nearly as seductive as its lead actress.

Hard to call something this gratuitous entertainment but certainly lingers in the memory, thanks mainly to the bombast of Stone's script.

Part two of Ulrich Seidl’s Paradise trilogy is a stark, morally complex study of blind belief, lightened by black laughs and Seidl’s static, deadpan compositions.

The set pieces make this well worth watching while director Goro Miyazaki shows he's truly his father's son.

Complemented by its black-and-white photography and a moody DJ Shadow score, this is a gritty yet often tender look at society's margins.

Thoughtful trial movie with a disturbing edge.

It's a result so painfully logical it would make Lynch's hair stand on end.

Well-served by a laudably authentic ensemble, the director explores both character and ethnicity with a canny wit.

A worthy addition to the canon of Iraq war films, The Messenger has a gentle humanity that creeps under your skin. Look out for a terrific Harrelson turn, too.

Cavill and Hammer are made for each other, but the film can’t always find the pyrotechnics to match their chemistry.

A promising debut that stumbles in its final act, but its pseudo-documentary and found-footage sequences make Shelby Oaks a suitably creepy calling card.

A step in the right direction for console-to-screen transitions and a twisted masterpiece of set design. Ultimately, though, it's a little too much like watching someone else play the game.

Wolfs has all the practised professionalism of its two anti-heroes, if not quite their spark. But there are few movie stars as straightforwardly enjoyable to watch as Clooney and Pitt.

Delightful, but bum-numbingly slow.

Okay, so it’s Cujo with a chimp and a pool instead of a dog and a car – but Primate delivers good, gruesome business and has a sense of fun. Solid horror hokum.

Eastwood’s message that no good deed goes unpunished feels misplaced, but for the crash sequences and Hanks’ turn it’s worthwhile. But for goodness’ sake, don’t watch it on a plane.