There’s beautiful visual and verbal comedy, and the film has the creative spontaneity of a dream, foreshadowing Spirited Away (it influenced Miyazaki). However, the lack of momentum and focus may end up boring children, while the English dub actors sound a little stilted.

Affleck and Bernthal make a funny, if morally dubious, double act, as Christian’s autism lets sociopathic hit man Brax think of himself as the ‘normal’ brother. Best bit: the line-dancing scene.

The plotting - Kelly's struggling painter falls for Leslie Caron's French waif, engaged to nice but dull Georges Guétary - lacks the pace, exuberance and wit of, say, Singin' In The Rain, but compensates with fantastic Technicolor visuals..., George Gershwin's sublime music (pick of the tunes: I've Got Rhythm, S'Wonderful and Our Love Is Here To Stay), sublime art direction from the great Cedric Gibbons and astounding choreography and footwork from Kelly.

Visually arresting, with an enjoyably wacky premise, but scuppered somewhat by its rusty, clunky storytelling.

Cheerful, kitsch and camp.

Despite all the confusion, it's a simple case of the script being too ambitious. It may emulate a man experiencing flashbacks, but it doesn't help the audience.

The gleefully Gothic fingerprints of Guillermo del Toro are all over this zippy excursion into Mexico's myths and legends, although the gag-count falls quite a lot short of Pixar greatness.

As a one-off this could have inoffensively scraped by on thin charm alone. But don't forget kids, it gave rise to such monstrosities as Last Action Hero, Junior and Jingle all the Way…

If you’re not fond of Lopez’s soapier films (hello Maid In Manhattan) this might make for queasy watching, but stick with Second Act for its smart reframing of a city Cinderella story that retains its sense of humour.

The stories are all individually charming, but overly familiar animation and underwhelming character-design blunt the effect. 

Unpretentious, warm, at times hilarious, it's hard to find a bad word to say about Crocodile Dundee.

Castellitto deserves great credit for toning down the melodrama in wife Margaret Mazzantini's novel and producing a very human story about chance, choice and consequence.

Despite some tired storytelling devices, Lee is a handsomely made, moving biopic of a subject who deserves to be honoured — with stellar chemistry and performances from Kate Winslet and Andy Samberg.

With hard-boiled dialogue, sleek God’s-eye views of the city and serious talent in supporting roles, you’re not given a chance to get bored. Even so, an air of overfamiliarity hangs over proceedings.

The film has a wonderful super-production look and Baldwin's Shadow breezes through via nifty invisible effects, but the plot never really gels, and for an action fantasy is rather cold.

It’s as predictable as an Advent calendar, but thanks to Kurt Russell’s grizzly charms, The Christmas Chronicles at least gives us one of the movies’ best Santas yet.

A genuine oddity, Welcome To Marwen may not hit the emotional highs but mixes high-concept fun with a sincere attempt to describe trauma in an original visceral way. And Zemeckis’ filmmaking remains exemplary.

It’s not quite as fresh or fun as the first film, but P.S. I Still Love You still has plenty to love about it – not least another loveable performance from Lana Condor.

Still not an essential series like Bourne or Bond, but this entry has a refreshingly light touch and some of the best action of 2011. See it at an IMAX for optimal vertigo-inducing effect.

Good fun, and though it breathes hard in the second half, the ensemble has charisma to spare.

Good central performances but short on plot.

Karukoski’s entertaining film boasts flair and narrative ambition, but ultimately fails to completely break free of its traditional biopic frame.

Yeah. Light and fluffy it may be, but this is undeniably entertaining stuff.

Much more than just a witty title, this is a very genuine, very British send-up.

A movie that while thin and silly, moves with such joyous speed that you almost want to throw your arms in the air and scream.

Lotfy Nathan’s debut is a grounded, sensitive portrait of a country still reeling from dysfunction. The script doesn’t penetrate as much as Adam Bessa’s searingly intense performance, which gives this social drama impressive emotional heft.

Not exactly light entertainment and it can drag in places but when the drama is cranked up, it really works.

Likeable leads and the odd good joke makes this romance an amiable time-passer.