A no-holds-barred assault on hollywood cop sensibilities that could have benefited from more comic diversions.

It would like to be "Traffic" with guns, but comes out more like "Blow" with bullets.

An important story of injustice inspires but fails to fully ignite, despite two towering central performances from Jamie Foxx and Michael B. Jordan.

The young cast, which resembles a collection of Gerald Scarfe illustrations, acquits itself reasonably well, but is too ordinary to be heroic. And, once action is introduced into the mix, Barry Levinson'’s direction falters.

Not up there with the best King adaptations, but a fun Gothic yarn that, like all good ghost stories, is simple and dripping with dread.

More The Magnificent Seven than American Sniper, this flag-waving true story is an effective — if overly simplistic — neo-Western that's eventually carried over the line by a sparky ensemble cast.

Vice Versa knows its place and, rather than attempting anything oddball, sticks close to the body swap formula in order to gain a decent smattering of laughs. No classic, but a watchable comedy that will find an audience.

A slow-burn, sluggishly surreal horror, The Feast takes its time getting to the point — but the bloody final act is something to really sink your teeth into.

Funny and unthreatening, it's not subversive but it's plenty of fun.

You’ll long for a slightly smoother animation style (Pixar won’t be quaking in their boots), but this surprisingly fun yarn will undoubtedly have youngsters reaching for the nearest guitar.

Herself tells a compelling story, but combining a tough realist drama about domestic abuse and homelessness with an optimistic tale of solidarity weakens the foundations of this otherwise admirable film.

Despite the luminous Lombard and the venomous March, this is perhaps better for its idea than its execution.

With Hercules, Brett Ratner and Dwayne Johnson are out to entertain you — no more, no less. And that is just what they do.

Entertaining Sunday afternoon stuff.

Yippee-ki-yay! Willis still has the goods.

Open and often disturbing portrayal of life among America's seediest levels of society even if it resorts to cliche a little too often.

A comic take on Rear Window, Badham's latest has the acting talent to carry it over the sizeable gulfs in plot to an end product that brings laughs aplenty.

Slightly weird, occasionally funny thriller.

Odd, but intriguing.

A patchy, hit-and-miss comedy with a few outrageous highs and a lot of just-okay padding, Brüno suggests that Sacha Baron Cohen's in-your-face fool routine sadly isn't working any more.

Jeremy Hersh’s debut is naturalistic and well played. If it initially lacks momentum and oomph, the film becomes a multi-faceted look at issues surrounding surrogacy, anchored by Jasmine Batchelor’s central performance as a woman forced to make a life-changing decision.

Like most of the recent exports from Apatown, Get Him To The Greek -- aka Russell Brand’s My Filmy Wilm -- is patchy, but home-run hilarious from time to time. If only it didn’t detour into darkness so often, this could have been a genuine treat.

Another solid directorial effort from the occasional filmmaker.

As a visceral, camera-shuddery ride into foamy-mouthed zombie hell, it’s efficient enough -- but if you’ve already seen [Rec], steer clear...

Intense direction (Pekinpah) coupled with assured acting (McQueen).

A bizarre, intriguing combination of political allegory and old-fashioned paranoid horror.

A fiendishly effective holiday-gone-wrong thriller that's better at cranking up the agoraphobic action than fleshing out its characters. Still, it'll find few fans at the Mexican Tourist Board...

In its best scenes, it adds dynamism and British grit to a genre that had previously tried to get by on atmospherics and mood alone. It manages to be shocking without being especially frightening, and its virtues of performance and style remain striking.