Destined to be a big drinking game — take a sip when Broadbent bites his sandwich — but little else, this feels like a major missed opportunity.

Zendaya and John David Washington deliver career-best performances in this mesmerising two-hander that ruminates on love, life and art.

This slight, modestly sweet and mildly charming affair squarely aimed at the older cinemagoer is just the bill for those seniors’ matinées where the ticket comes with a cuppa and a biscuit.

An unusually thoughtful look (and a broad one) at powers on the wane, at America's shift from Vietnam polarisations to 80's apathy, and at one man teetering on the brink of a lonely old age.

Astronaut doesn’t have the budget or cinematic ambition to deliver on its premise. Despite the best efforts of Richard Dreyfuss, it reaches for the stars and misses by a mile.

A curiously compulsive drama that for all its inevitable Dead Sailors’ Society trappings is still highly entertaining.

Too long, and too wrapped up in its various plot contrivances to notice it’s veering off course. But Jack just about pulls the wheel back, aided by Verbinski’s flair for cartoonish comedy action.

A flawed work held together by Alwyn’s tender presence.

This is unlikely to win Kathryn Lansky's antipodean owl fantasy any new fans, but even the bemused (and confused) can luxuriate in some grand-scale visual storytelling.

A classic screwball comedy that draws its inspiration from the 1930's genre. The jokes are quick and amusing enough to carry it through it's hour-and-three-quarters. Russell and Hawn have fun with the characters which comes through and makes it all the funnier.

This has a lot of good ingredients but just doesn't quite manage to pull it off. It's looks dated and Shirley Maclaine doesn't quite capture the sympathies of all audiences.

The script fights well against the cliche-ridden plot but this is very average all round.

The plot may play second fiddle to the visuals, but there’s no denying that these visuals are to die for.

Solid production values lend a polish to the spooks and there are strong performances all round, especially from the ever-excellent Rebecca Hall, but there's little here to add to the well-worn haunted house genre.

Only distinguishable from the original movie by its obvious cheapness.

Charming performances from Bailey and Page can’t make up for the crushing levels of cringe. More an underwhelming pasta ready-meal than a fine-dining experience.

If you’ve never seen Luther, don’t start here. You will be completely lost. Even dedicated fans are likely to be confused by this messy revamp of a story that once felt dangerous but is now merely daft.

A nice idea, and the setting makes it instantly more interesting to a UK audience, but it’s let down by lapses into cliché and by simply not being audacious enough with its action set-pieces.

My Dog Skip for people in mid-life crises, it?s too talky and trouble-laden for tykes but will doubtless prove as critic-proof to dog-lovers and the stars? fans as it did in the US.

It falters a little in its confusing climactic battle, but is breathlessly paced, wittily scripted, amusingly played, action-packed and relentlessly spooky.

Tense and occasionally disturbing, but somehow you’re left with the nagging suspicion that what should have been a meaty psychological drama has been turned into a slightly insipid thriller instead.

With an uncompromising attitude to complex plotting and graphic content, Red Sparrow is a promising beginning to a potential new spy franchise. Just be aware of its unexpectedly barbed edges.

A remake that doesn’t see the legacy of Carrie White burn in hell. But not one that adds much to it either.

Not all the plot developments ring true, but moments carry a real chill - even in a coma, McKellen can terrify a fellow patient almost to death - and it has more than enough thought-provoking material to command your interest.

The concept of combining Adam Sandler and horror is not a bad one. But this is no Abbott And Costello Meet Frankenstein. Instead, Hubie Halloween inspires mild dread for all the wrong reasons..

Shot in magisterial black-and-white, veteran director Trueba's drama is a welcome return from the Belle Epoque man.

If there were a special Academy Award for Contrived Premise, this picture would be a hot favourite to scoop the statuette.

Greg Berlanti’s revisionist comedy offers a fresh take on the Apollo 11 moon landing, but its convoluted conspiracy fails to capitalise on the charms of Johansson and Tatum’s workplace romance.