More style than substance here but what style it is and what little gems of cinematic moments collect together in this enjoyable ensemble.

Cards on the table: rock operas pretty much suck except for "Tommy."

A typical 90's comedy featuring staples Richard Dreyfuss and Emilio Estevez who re-hash their 'cheeky cops' schtick from the first picture and are now joined by O'Donnell who tries to inject more humour allowing us to forgive the lack of an engaging story. Sadly this is where all three fail.

A dark action-comedy rather than a spooky gothic picture, Renfield is pitched to please long-time Dracula fans while reminding new generations that this Count was the first and arguably best monster villain in Hollywood horror history.

Too long, arduous, lecturey and patience-testing for even the all-new Matthew McConaughey to rescue. Director Ross is apparently so swamped by a sense of historical righteousness he hasn’t noticed he’s smothered a decent story.

Sweet-natured, undemanding family fun.

Strongly performed by a fresh-faced cast, A Paris Education is familiar and doesn’t completely grip, but is an enjoyable celebration all the good things in life; films, arguing about films, friendship, love, politics and Paris.

Well played and well shot, Run’s idea of relocating Springsteen’s America to a rain-swept Scottish fishing town is interesting, but sadly it runs out of gas and road before it hits the horizon. Less baby we were born to run, more baby we were born to drive around in circles for a bit.

As darkly disturbing as Jim Thompson's novel, this is a genuinely upsetting film that might also be Winterbottom's best. Not for everyone, but near-faultless all the same.

Lightweight but likable.

Resistance fails to commit to anything: too confused to honour its hero, too generic to shine a new light on a crucial moment in history. Somehow, such a remarkable story is here made forgettable.

A mysterious and disorientating blend of giallo violence, cinematic experimentation and Lynchian psychohorror. Revel in its bonkers beauty.

What The Tender Bar lacks in dramatic heft and originality, it makes up for in warmth, geniality and a clutch of great performances — chiefly Ben Affleck, who turns a stock uncle character into a memorable mentor.

Just the right recipe for a seasonal horror cocktail — gruesome kills, proper suspense, sly wit, likeable leads and a dose of just deserts for very, very bad boys and girls.

The best Muppet movie for some time, adding film references a-plenty, dark, edgy comedy and even a touch of post-modernism to the usual all-singing, all-dancing ridiculousness.

Hackneyed and somewhat dated Tarantino-isms abound. But for the committed fan of such things, there is more than enough to enjoy here: not least an entertainingly unhinged performance from Willem Defoe.

Harmless enough day in the sun for Goofy; pity there's an overwhelming feeling throughout that he deserves better.

Totally crackers but it gets powered by pure invention and eccentricity alone.

The Conjuring: The Devil Made Me Do It hits some major horror notes, with Wilson and Farmiga providing much needed heart and soul, but the new Satanic worship elements causes the franchise to take a farcical turn.

A grumpy Ben Affleck can’t save this confused thriller that has as many twists as a trepanning drill, and is about as likely to leave you feeling lobotomised.

A wry, sharp and never self-serious take on pop stardom.

Sprouse and Richardson are proven heavyweights in the young-adult pocket of Hollywood, but this soft-hearted teen romance spreads on sugary sentiment too thickly to leave a lasting message.

Despite his erotic thriller credentials, Lyne makes a tepid return to the director’s chair with a rather basic adaptation of an intriguing marital character study that Affleck struggles to enliven.

It’s impossible to overstate how much this film owes to Ryan Reynolds. Even if you don’t understand Pikachu’s world, everyone can understand a great joke superbly delivered.

Mad Max 2 with Thought for the Day thrown in. There’s some ace post-holocaust action, but you can’t help feel you were invited to a party with fizzy pop and cream cake and got suckered into a sermon instead.

Often beautiful but wildly inconsistent, Australia is none more Baz Luhrmann, which perhaps says it all. Worth a look on the big screen, though.

A toe-tapping triumph for dance fans, though less so for non-converts.

Romero does his best to streamline the flabby storyline and gets some extraordinarily subtle performances from a great cast, but King's malformed original keeps hobbling the film.