Woman Of The Hour isn’t the serial-killer thriller you’d expect, but more noble for it. Kendrick shows promise as a director, her lacklustre male antagonist hammering home this film’s purpose.

Newcomer Mason Gamble manages to be terminally cute without getting on your nerves, and his reluctant friendship with prissy eight-year-old feminist-with-a-lisp Margaret (who tricks his friend into kissing her doll's bum and then taunts him with the "baby-rump-kisser") is simply hysterical.

The epitome of middle-brow 'quality' drama -- admirable within its limitations, but Bernard Schlink's Oprah Winfrey Book Club-approved book wasn't exactly literature, as this isn't exactly cinema.

Operating with more of a steady pulse than a full-on thrill-ride, this revenge flick exchanges fists for brains with only decent results.

Bland, but wholesome.

It has managed, admirably, to strike a balance between the wholesome 'school nerd blossoms' fairy tale and the gross-out comedy that is now a teen movie standard.

Renner’s solid performance anchors a formidable ensemble in the type of well-intentioned docudrama more likely to leave your head shaking than your pulse pounding.

Blomkamp’s third movie has just about enough spectacle and quirk to overcome some fairly major flaws, not least of which is an unappealing central trio.

This is a valiant but overcomplicated Western that aims to redraw the lines on Western mythology: with heroes as mere humans, and heroics as distortions of the truth.

Whatever his intentions, the finished product is about as deep and meaningful as you’d expect from a work starring the Man Who Is Clark Griswold. Which is a good thing really, as, uncomplicated, genuinely funny comedy players are thin on the ground at the moment, and it means Memoirs can carry off the semi-slapstick, borderline-cretinous gags with pace and panache.

An insipid '80s nostalgia piece really, held together by Fox's performance and several neat turns from his support.

Kids will love it but adults may find it just too silly to sit through.

If you can make it through the bland schmaltz of the first half you'll be rewarded with a spectacular blast of sustained action and the promise of even better to come. This could be the start of something great.

An enthralling, enjoyable if ultimately far-fetched thriller.

It’s a real pleasure to be whisked across the world by Baumbach, but perhaps this cinematic glass of Prosecco goes down rather too easily.

Enough large-scale spectacle scenes to outweigh the inevitable religiose sludge that creeps in between them.

A good shout if your kids like this sort of thing, otherwise best head to your local aquarium.

John C Reilly just about holds together a funny but patchy comedy that puts a ten-megaton bomb under the cliched rock biopic – and never detonates it.

Not all of it works but it does breeze along, thanks to its likable characters and dry wit.

Sheen thrives in the guise of the idiosyncratic Clough in a brilliantly candid, if bitty, football parable.

Though it doesn’t stray far beyond fan service, this is a comfortable extension of a beloved British show that delivers a reliable mix of quotable comedy and heart.

Handsomely done but short on the atmosphere and passion of a genre classic.

Some great acting and visuals make up for this thriller’s frostiness.

Ror all its cleverness, Emily Rose does have its hokey moments.

Impressive because Loach keeps things simple in an accurate social study.

An engaging, if familiar, mix of teen rites of passage, the fun of friendship and mooning over a cool girl. Still, Nat Wolff and Cara Delevingne make for a watchable duo.

Not exactly ground-breaking, but an engaging story prettily told.

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.