Ultimately lost in it's own contrivances, Big Business still manages a few laughs thanks to it's big name leading lady.

Bullock delivers a towering performance that grabs the movie and the Oscar race by the scruff of the neck. You will be moved, but at the price of any nuance or complexity.

The inside track on one of sport’s biggest scandals, nimbly shot and sharply scripted, powered by an outstanding performance from Ben Foster and the quiet integrity of Chris O’Dowd.

Lane as the greedy schemer and the timid, gangly Evans make a good slapstick team, with great support from a cast of larger-than-life characters including Walken as the exterminator who approaches his task with military precision and outrageous hardware.

Best enjoyed for the fun, slick action and the astonishing, super-expressive realisation of Alita herself, because elsewhere it’s cyberpunk business as usual, marred by some sloppy plotting.

Some good performances, impeccable craft and good intentions can’t compensate for a lack of dramatic urgency and emotional heft. The Book Thief is effective, but not effective enough.

Fans can console themselves with some disorientating creepiness as half-glimpsed monsters swarm and the fine melodramatic performances. But as the film descends into a babbling wreck you start to wonder whatever became of the directing talent that gave us Dark Star, Assault On Precinct 13, Halloween and The Thing.

That this is just about passable as a divorced parent’s weekend treat is down to Roberts’ charm and the timeless appeal of Nancy herself.

All involved have done a solid job in executing what most fans likely want from a very belated Beverly Hills Cop sequel. This is not an action movie with the slickness or invention to take on any current blockbuster franchise. It’s cheerfully old-fashioned and easy. It feels like you should be popping open a VHS case to watch it.

Terrence Malick’s Hollywood tale is a frustratingly fleeting experience, a sleepwalk through Tinseltown that beguiles you with its visual artistry but leaves only the faintest of impressions when the curtain falls.

This slick and sticky horror is the most accomplished treatment of vampire lore since Near Dark.

A thriller in the key of Woody. The “same old, same old” but still entertaining.

With Almodovar's early work, it was all about extravagance with his later work such as Talk to Her and Bad Education aiming more for the intellectuals. It's a surprise, then that this film lacks both the flamboyancy of his earlier work and the depth of his latter, landing somewhere unsatisfactorily in the middle.

An ultraviolent Korean crime film with plenty of swagger and visual brio, but still too generic to really stand out from the pack.

Ultimately, BMX bikes and Day-Glo elbow pads just ain't cool. One best left to fond memory.

If you are immune to the charms of Carrie and co., this will do little to convert you. Still, it has more than enough sass, style and sentiment to keep the faithful satisfied. Add a star if you're a fan.

It looks gorgeous and offers strong performances from Driver and Ridley in particular, but ultimately the saga ends with neither a bang nor a whimper but something inbetween.

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.

As an exploration of cultural discord, Nagisa Oshima's film is pretty thin stuff, despite its reputation. Bowie is a potent irritant, but Tom Conti is solid in support and Sakamoto's mesmerising score sparkles anew.

An interesting premise but stodgy, suspense-free execution.

Comes across as a TV movie and overall, a disappointment - a high calibre cast and concept completely squandered.

For all it boasts in ingenious style, this genial American yarn lacks the delicious bile of Jenuet’s early days.

Fine if you like the band - you'll be treated to some cartoons playing over the top of their Discovery album. For everyone else, just daft.

As a visceral, camera-shuddery ride into foamy-mouthed zombie hell, it’s efficient enough -- but if you’ve already seen [Rec], steer clear...

Lacking the style and scares of the better Conjuring movies, Annabelle Comes Home plays its tantalising spookhouse concept a little slow and far too straight.

Grown-up but not too serious; action-packed but not juvenile… Not only is this the mullet-free Robin Hood movie we’ve been waiting decades for, it’s also Ridley Scott and Russell Crowe at their most entertaining since Gladiator.

An ambitious documentary on one of the most intriguing, frightening phenomena of our time. The attempt to cover every aspect of a broad topic results in an intriguing if slightly disjointed watch.

An enthralling, enjoyable if ultimately far-fetched thriller.