It does slow down a bit too much for endless walking hither and thither scenes in the woods, as we ebb toward the grand reveal, but the mystery proves strong enough to hold you.

The remake/parody sequences - trailers for which are on the official site - are outstanding, but Black’s all-over-the-place mania and Mos Def’s slightly too bland orphan hero don’t quite tie the rest of the picture together. Still, it has heart. And you’d rather see this version of "Rush Hour 2" than the original.

An arch mix of police procedural and supernatural chiller, this is bleak, edgy, sometimes silly stuff.

Misfit cameos, apparently random asides and an almost continuous onslaught of unsettling sex and violence mean there’s no mistaking David Lynch’s hand behind the camera -- but there’s enough of a narrative to make this work as a straightforward road movie, too.

Not many teen romances use high-concept fantasy to probe the nature of self. But despite its fascinating conceit – and strong opening scenes – Every Day is undone by blandness.

How did such a dream project on paper turn out so wrong. It should remain one of the great mysteries of cinema. The less said about this one, the better. For Spielberg completists only.

Visually stunning, thoroughly belligerent and as shallow as a pygmy’s paddling pool, this is a whole heap of style tinged with just a smidgen of substance.

An unexpectedly entertaining mixture of good, clean Disney fun with some rather more modern action scenes, lent charm by Johnson’s natural swagger. One of the better family films in a while.

A hard-boiled version of Rocky, with enough anti-Balboa brutality to keep our interest.

Despite some lovely cinematography and interesting insights into what makes the Parisian landmark so special, Eiffel is a forgettable forbidden love affair.

After several successful films where he plays the tough-as-nails cowboy, Wayne wasn't about to break the pattern now. Playing the only character he knows, he gives several inspiring speeches to an unlikely group of kids who turn from boys to men.

A desire to Know What You Did Last Installment is likely to be the biggest draw for Scream number four, but if this proves to be the last in the series, it's a bloody shame it ended not with a Scream but a whimper.

Familiar but enjoyable. Not being funny, the elephant (Rosie, played by nine-foot enchantress Tai) is the real star as the most moving and only joyful presence in sight.

Messier and heavier than Days Of Future Past, this is not so much the next step in the X-Men’s evolution as a failed callback to past glories.

It looks fantastic, Gru is still loveable, and smaller viewers will be engaged enough. But Despicable Me 4 stalls in its overstuffed plot and its lack of an interesting narrative.

Most of the people who see this will own funnier home videos of wedding disasters.

As a chance to see the celebrated Broadway show with the original cast, this is a treat. As a re-interpretation of a classic, though, it's a disappointment.

Derivative but tongue-in-cheek enough to have a following.

A daft idea perfectly calibrated to Black’s pop mania, then hermetically sealed by a director who thinks he’s making a Hal Hartley movie.

The interesting world of the film doesn’t get the story it deserves.

It may be unevenly paced, but JUNG_E delivers where it matters: propulsive action sequences, emotive drama and grand existential questions about the human connections that sustain us.

While it’s not a crossover classic, this has enough wit and charm to entertain both big and little people.

Middle-aged scouse housewives and Willy Russell is a bread and butter combination: no frills, a tad repetitive, but plenty of substance nonetheless.

Packed with more clichés than a pizza has pepperoni slices, this is truly disappointing, especially after Lane’s stunning performance in "Unfaithful."

Win A Date With Tad Hamilton is a valiant attempt to create a love triangle, but ends up getting all its sums wrong.

Huge ghostly fun, and a fine achievement from the early days of CGI.

Tolerably exciting spycraft, but stuck with a see-through plot. Washington and Reynolds are watchable, but not exactly stretched by these roles.

A tender, nostalgic and warm ‘family’ drama which also quietly seethes with the threat and tension of imminent danger. Labor Day shows a new side to Jason Reitman as a filmmaker, and we like it.