A solid, often entertaining life-of-crimer which benefits from some stylistic touches and a faithful, convincing central performance.

It is a complex and at times infuriating structure — it often helps to conceive of the film as the book of short stories it stems from — but simultaneously vivid and disturbing.

The performances are alright enough but the casting was a bizarre choice and it's just not strong enough to carry the premise.

While the Norman vistas are glorious, the storytelling lacks wit and charm.

Sequelcraft 101 – if you liked the others, this is more of the same. Extra points for using a nailgun on pigeons.

Every tiny aspect of the universe here comes from the filmmakers' imagination, and while this occasionally leaves us bemused, the film as a whole is a magical, otherworldly trip into undiscovered areas of cinema.

Five stars for cute and courageous Milo and the intrepid and loving Otis, but any adult who isn’t a devoted animal lover is warned to stay away.

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

Ridiculous, of course, but not as ridiculous as it might have been. As much fun as it has with the idea of animals stomping cities to rubble, it seems shy of going completely over the top, and it’s the poorer for it.

Surprisingly watchable despite the formulaic teen format.

Ultimately, Irma Vep doesn't quite have the courage of its convictions, but still provides plenty of scathing satire on the state of French cinema.

This has the power to unite a female audience ready and willing to overlook its supposed weaknesses.

An unlikely but effective found-footage horror from Goldthwait.

It never comes close to the classic status of its predecessor, but for drive-in horror thrills, this still has sufficient bite.

The Amazing Johnathan Documentary starts as a blast but as the journey progresses, becomes ever more slippery: Is Szeles tricking Berman? Is Berman bamboozling us? The answer is entertaining and frustrating in equal measures.

The Dig is well played, especially by the leads, and visually gorgeous, but it lacks fire and ironically doesn’t get under the surface of its story.

A pleasing and pretty enough re-run, just that bit diminished.

A darker turn for the sensitive Sebastián Lelio, and yet more proof that Florence Pugh is among our greatest treasures. Plenty of food for thought among the emptier moments.

Enjoyably satirical and occasionally insightful, it's betrayed by some lazy stereotyping.

If you’ve asked yourself why on earth there needs to be a movie about Troll dolls, this doesn’t really provide a strong answer, yet for all its awkwardness and fluff-brained logic, its enthusiasm is infectious.

More interestingly, it paints the Bolshoi as a microcosm of Russia, in thrall to tradition but beset by greed, backstabbing and corruption.

Odd, confident, challenging, and featuring a brilliant turn by Williams. If only there was just a little more to it.

It's no Paddington 2, but Peter Rabbit 2 works well thanks to a mocking sense of self and a strong second half. Once again, Beatrix Potter, it is not.

Undeniably effective, in its own blunt way, this deserves credit for shining light on a crime that’s — unbelievably and controversially — still denied to this day.

A mix-tape of successes and failures, perhaps too light for its subject, but a silly, easy watch.

Familiar formula yet Morgan Matthews’ feature debut adds up to a satisfying whole.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Likeable stuff despite being slow paced and rather sentimental.