This is a film about nothing less than the future of America and the history of mankind. It is brash and bonkers and doesn’t always hang together, but 85-year-old Francis Ford Coppola has rarely been as audacious.

Rocky with robots? It's not quite in Balboa's weight class, but Real Steel at least has some heft. There's barely a story beat among the beat-downs that you won't expect, and sometimes the saccharine gets in the way of the spectacle, but on the whole this is enjoyable family entertainment.

The depth of talent in the cast and gag writing shines through, but it’s only just enough to take your mind off of the flat animation.

The garish, exotic, retro styling is Anderson at his visual best. In terms of character and sensibility, though, this is sadly Anderson at his worst.

Often gripping, and elevated by Cranston’s superb central performance. But it’s hard not to feel like we’ve seen this before, often and done better.

A grand folly, but lots to love.

This is a come-for-Lopez, stay-for-Lopez endeavour, and she’s on fine, movie star form in this serviceable, if forgettable action thriller.

Sharply written, beautifully shot, but confusingly paced, Paris, 13th District is an enjoyable if forgettable snapshot of modern love and relationships.

From Phillippe Rousselot’s exquisite cinematography, with the stunning scenery of Montana as a backdrop, to Redford’s assured direction, this is utterly alluring, and manages to make fly-fishing seem not just romantic, but thrilling.

Both leading ladies display great willingness to send up themselves and Hollywood, and Willis' quiet nervous breakdown showcases his previously unguessed-at comic skills. But it's the pitch-black comedy and celebrity satire that make this so enjoyable.

Like "There's Something About Mary," Orgazmo has a very sweet love story at its core, although it's more consistently entertaining, blending some outrageous moments with a surprising degree of restraint.

The Menu’s straight-faced depiction of absurd culinary violence may not be imaginative or thrilling, but the film is rarely boring. It’s deep-fried junk disguised as gastronomy; it may not fully satisfy, but it’ll fill a hole.

The film doesn’t quite trust the magic of the garden, adding visual dazzle and, sometimes, artificiality, but when the film relies on the kids and their relationship it still finds the book’s magic.

This is intentionally jagged but nevertheless frustrating, a little too self-satisfied for its own good. Yet there are some great moments and, when it relaxes a bit, it has charm to spare.

Bart, the bear used in the dramatic attack sequences, gets top billing in the end credit crawl. Which is fair enough, but hardly inspiring.

Lushly photographed by Andrei Zhegalov and impeccably played, it’s a long-overdue corrective to the kind of wildly patriotic war film produced in the Soviet era.

Powerful, personal, but bombastic.

There have been far, far worse remakes out there. Harmless, feel-good fun.

While Gibson and Downey work well together, Air America does tend to be slightly overcooked in the cheap laugh department at the expense of a meandering storyline.

Fun if uneven stuff from Ratner. A welcome return to form for Eddie Murphy and an even-more-welcome turn by the ever-excellent Alan Alda.

Despite elements that threaten to drag it down into the depths, Ben Wheatley’s Meg sequel (cherish those words) battles a waterlogged script with playful pulpiness, delivering solid summer fin. Sorry, fun.

Some okay thrills with good performances and some smarts. But the last reel plunge spoils things. Myth for the new millennium: any average, out-of-shape middle-aged Yank, including the President, can get in a punch-up with a few well-armed, super-trained terrorists, and win.

Charming, funny and great turns from a cast with no finger-wagging. But if you don’t like psychosis-inducing imagery, steer clear.

The fantastic action scenes featuring Chan in his pomp are slightly let down by comic overkill.

It leans too heavily into ham-fisted cliché but Jack Huston’s debut gets by on a striking look and a clutch of strong performances led by an excellent Michael C. Pitt.

If you can stomach the wobbly lessons, the sometimes clunky writing and the offensively bad Irish accents, this is a perfectly fine thing to pop your kid in front of for a couple of hours.

For exploitation-enthusiasts and Scorsese completists only.

Okay, so it's not exactly a groundbreaking advance from the team behind "Ice Age," but with its kaleidoscope of colour and heaps of humour, you'll be charmed.