A good performance from Barrymore, the admirable Gilbert (who talks as her character on Roseanne would if she was covered by an 18 certificate) and director Katt Shea Ruben, a Roger Gorman associate hitherto best known for sleaze thrillers set in strip clubs.

As double-cross becomes triple-cross becomes quadruple cross, it all gets awfully trying.

The Man Who Killed Hitler And Then The Bigfoot is a strange but enjoyable mishmash of genres and ideas held together by the gravitas and class of Sam Elliott.

Attempting to encompass too many genres dulls the overall effect but this still commands a certain fascination.

An enchanting blend of Disney twinkle and Tim Burton’s dark whimsy that’s at its best when venturing off the beaten path. Come for the super-cute elephant, stay for Keaton and DeVito’s glorious reunion.

Lost Transmissions is a clear-eyed view of schizophrenia, aided by a powerful Simon Pegg performance yet hamstrung by some woolly filmmaking and a whiff of pretension.

Cleaner has good people behind it but this British attempt at a Die Hard ends up just being a bit of a mess. Yippee-ki-nay.

The animals are cute and Gleeson is extremely game. What keeps Peter from Paddington-style delight is a self-conscious need to distance itself from its source material.

A playful industry satire made by victors. That's actually pretty cold when you think about it.

Marshall's film is crammed full of good ideas but doesn't have the cohesion to pull them all together. Less effective than "Dog Soldiers," never mind "The Descent."

High in gloss if not necessary insight, this is manna for fashion fans but a marginally slighter piece of work than The September Issue.

Riper than the ripest of ripe Brie, this crime caper provides a ridiculous vehicle for the talents of pretty much everyone involved, all of whom appear to be having a splendid time. Taken on these terms, viewers probably will too.

Even with a starry cast, the stirring true story is this drama’s standout feature.

This film falls down in it's attempts to do everything at once, so that a potentially horrific scenario is often played out to comic effect. It doesn't quite work and the film manages to undermine itself.

With the feel of prestige telly, it's nicely done, sweet and moving.

Savage Grace is simply hysterical: a film as harsh, brittle and unbalanced as its characters.

Thoughtful, moving, and Bettany is brilliant. To be reminded of the power of love to redeem and repair, catch Creation.

The film does work, but not quite as well as the Hepburn-Tracy classic that it seeks to replace. Mildly amusing.

Despite the amiable charms of the central couple of Cheers' Kirstie Alley and a back-from-the-dead John Travolta, it is director Heckerling's goofy willingness to let her imagination run riot that prevents her film from sinking into soap.

Not quite Four Weddings-funny but always entertaining and endearing in equal measure.

It doesn’t quite successfully balance its warring tones, but a winningly grumpy performance from Tom Hanks — and a winningly sunny one from Mariana Treviño — ensures for a very watchable take on the ‘giving life another shot’ subgenre.

At heart, this is a simple Zen fable about love and death. In execution, it’s a complex and gorgeous mini-epic with sterling performances from its two stars.

About the dumbest movie Clint Eastwood ever put his name to.

Yet in spite of the affable Mr. Moog, the mood remains distant, too fetishistic to be passionate. Great noises, though.

It's well performed, and Collet-Serra knows his way around a beautifully timed scare, but what's most haunting is the sense that the same idea has been done better before.

Interesting misfires from Wong Kar-wai and Steven Soderbergh barely manage to atone for the seedy muddle concocted by eightysomething Michelangelo Antonioni, who mocks his own reputation for existential ellipsis with his voyeuristic vignette.

Karate Kid: Legends doesn’t quite live up to the promise of its Cobra Kai-meets-Mr Han marketing. But for breezy feel-goodness, you’ve come to the right dojo.

Cheerful, kitsch and camp.