While it may prompt some to think again next time they're in Starbucks, this astute insight into the coffee business is better at lauding the good guys than taking the multinationals to task for the iniquities of the global economy.

Overlord injects a healthy dose of schlock into familiar war-movie tropes to create an entertainingly grungy hybrid, but it never quite kicks into overdrive.

Cronenberg's attempt to meld his style with an established writer didnít exactly pan out.

Mortensen shines but a contrived, issue-driven plot destabilises what could have been a great Russian gangster movie.

Keeping it surreal has never been so nauseating and, at times, hilarious.

An elegant, entertaining, informative picture with a gallery of vivid supporting turns, this provisionally crowns the winning Blunt as a Brit-pic star - but it skimps a bit on the bodice-ripping, blood and thunder.

Both leads are likeable and have the cutting neuroses that Brooks delivers so well. They can’t really carry the film until the dramatic plot twist but from then on its all good fun.

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.

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

The simmering implication of incestuous emotions between Lili and Roy, leading to the shocking denouement, is badly underdeveloped and mishandled, leaving a lingering sense of anti-climax.

Former pop promo director Sena knows how to give a glossy sheen to the blank surfaces and rough edges of roadside America, but the results look cheap and shoddy rather than seductively challenging.

All three leads are genuinely appealing here, with Ryder once again acting her bobby sox off and giving yet further reminder of just how sorely she was missed in Godfather III.

It may not be as good as the material it's sourcing, but it's still fun to see so many faces from the genre in one place.

If you are immune to the charms of Carrie and co., this will do little to convert you. Still, it has more than enough sass, style and sentiment to keep the faithful satisfied. Add a star if you're a fan.

The storytelling is a little loose, but as a workplace comedy with a side-line in romance, this earns its laughs thanks to the immensely game Henson and a stellar supporting cast.

Deftly balancing multiple genres, Tornado’s occasional pacing issues are propelled by Jed Kurzel’s ferocious score, Robbie Ryan’s haunting cinematography, and standout performances from Kōki and Tim Roth.

A watchable, if by-the-book, documentary. It’s only a pity that the conventional storytelling hems in such a deeply unconventional director.

Weirdly, the film’s problem is that it revs up the tension so much that, like one character’s submersible sinking into the high pressure of the titular Abyss, it finally bursts. The climax – as Bud descends to defuse the nuke and meet the aliens – just doesn’t work.

A few plot holes hold back what is otherwise a well cast and compelling picture.

It’s "Ferris Bueller" with an existential crisis. Very funny and very weird.

What makes the film work is the double act between the two actors, and some great one-liners that pepper the script and cover up the fact there isn’t a great deal of originality in the plot.

A worthy but wordy look at the inequities of the US legal system, saved by a handful of terrific scenes and a tour-de-force turn from Washington.

Sokurov's use of space, religious symbolism and raw emotion compensate for any sense of exclusion.

It's a good job this works so well as a machine-made movie, because its grasp of political realities is nebulous.

Bleak, bewildering, and a bit bonkers. Kaufman’s uncompromising originality is always welcome — but you’ll need time to let this one percolate.

Coming off like a peculiar mash-up of The Host and Dr Strangelove, Shin Godzilla is weirdly paced but does add a new twist to the old formula.

Chekhov is notoriously difficult to film and this adaptation boldly taps into the play's mordant wit. But the fidgety and over-emphatic visuals detract from the themes and the stellar performances.

An improvement on the first film, in the end, and an encouraging rallying cry against fear and intolerance, but it’s still far too busy and baroque to match its leading lady’s elegance.