Anyone unfamiliar with or underwhelmed by the music of OutKast will find little in this thin piece of cinematic storytelling. Fans happy to luxuriate in its artistic indulgence, however, will be swept up in the weird, random, fantastic OutKastness of it all.

Not a write-off, but more like a respectful homage than a 2020s update in the manner of Candyman (2021). Perhaps a little disrespect would have been truer to the Clive Barker/Pinhead spirit, which is curiously muted in this outing.

The astonishing true life story of The 33 deserves a better movie than this. Trite above and below ground, it is not suitable for miners. Or anyone else really.

Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

Reasonably gripping.

The word 'icon' is overused but as this charming Muhammad Ali portrait shows, occasionally it's utterly warranted.

Charmless and saddled with disastrous flashbacks, this doesn’t have the street smarts to play its strongest hand. There’s a great film in here struggling to get out, but the definitive London noir still remains unmade.

Roger Moore’s third outing as Bond is undoubtedly his best.

Fans of Maggie Gyllenhaal will be disappointed; fans of Mary Shelley will be disappointed; fans of unhinged cinema will be morbidly intrigued.

A stand-out romantic fantasy and surefire hit of Ghost-ly proportions. But all you cynical and smart-arsed brethren, beware: this is definitely not for you.

Good, gory fun.

George Clooney dazzles and Jeff Bridges shines in a scattershot but often hilarious military farce.

Good intentions, but dull and predictable.

Weightless, but not without its enchantments, this is Woody Allen coasting. But where better to coast than the loveliest coast of all?

Pacy thrills are doled out in a solid Sam Raimi-approved pulse-raiser with a few nifty ideas up its sleeve. Shall we try ‘Don’t Smell’ next?

A strong directorial debut from Winslet with — as you’d expect — stellar performances from her cast. It might be the perfect antidote to other, overly saccharine Christmas films.

Ahmed excels and the set-up is compelling but ultimately this is middle rank stuff from the Monsoon Wedding director.

Surprisingly, even after waiting 20 years, they managed to turn out a smart, darkly-comic thriller with some imaginative twists.

Like a real-life stroppy teen, Assassination Nation is pissed off with something new every five minutes — but there’s style and sophistication here. The Trump era has its first dorm-room classic.

But for anyone willing to swallow a large pinch of salt there is much to enjoy in the film's numerous nail-munching, white-knuckle set-pieces variously employing firetruck ladders, subway trains and a finale so ridiculous that it just... might... work.

Ricky Gervais very much plays the hits in an undercooked but occasionally funny big screen revival that suffers from a crippling case of de ja vu. Brent’s last goodbye? You’d hope so.

More madness in the midday sun than Midnight In Paris. Baldwin, Cruz and Davis shine in a farce that overstretches itself into bellylaugh hits, but also some satirical misses.

Some will find this impenetrable and irritating, but audiences willing to tune into Hosking’s off-kilter style will be moved by the ridiculous love stories and relish the hilarious eccentricity.

Despite Fischbach’s arguably admirable intent and exertion, this low-budget sci-fi horror makes Event Horizon look like 2001: A Space Odyssey.

Caine leads an impeccable cast in a story that is as touching as it is funny, turning the mundane minutiae of fading lives into a vibrant display.

Like last year's "Chronicle," here's another reminder that in the right hands found footage still has plenty of capacity to surprise.

Genuinely sweet and endearing Murphy film, at last.

As a director, this feels like Stiller’s moment. Mitty is a film that bravely rejects cynicism. In many ways, it’s the new Forrest Gump. Go with it and it is, in all senses, wonderful.