It's all a little too coincidental for comfort, and surprisingly short on laughs for a comedy, but nonetheless this is a light, well-meaning flick, improved considerably by Lake's scatty heroine.

If not quite on the level of Garbus's terrific Bobby Fischer documentary, this still filled with fond recollections of Mazza's life and career. Fans will relish it.

Has its moments of spectacle and danger, but offers too few genuine insights or rite-of-passage epiphanies.

Charming but uneven, director Améris's film doesn't know whether to make us laugh or cry, and ends up doing neither. Still, a smart script offers plenty to keep incurable romantics happy.

An amazing true tale is somewhat diminished by second-hand storytelling: entirely admirable, largely entertaining, and yet curiously hollow.

There's a desperately inevitable, powerfully tragic last reel, but getting there is absolute torture.

It makes for a patchy comedy that's stronger as a genre-mocker than a political satire.

Paul Schrader's intense drama pulls out all the stops.

Adam Sandler goes back to his Happy place for this unashamedly stupid sequel. What it lacks in precision or panache, it makes up for in sheer goofy, golf-y geniality.

With a more accomplished script and an actor of rather more technical prowess than Reeves (nabbing the Prince Hal role), this may just have worked. Here, it is just squirmingly embarrassing stuff.

Persevere through the sluggish first two acts and you'll be rewarded with a touching relationship perfectly acted by Lewis and Breslin.

Mat Whitecross draws compelling lines between Coldplay’s past and present in a documentary as colourful and optimistic as its namesake album. It’s one for the fans — even the ones too reluctant to admit that they are.

A classic, of sorts.

Harmless enough day in the sun for Goofy; pity there's an overwhelming feeling throughout that he deserves better.

Dated and a little clunky but with a few moving performances from the leads.

It’s vivid, substantial and works hard to be worthy, but as it ticks off the milestones of a monumental life it flickers more often than it really catches fire.

A rollicking cat-and-mouse thriller in bad weather. And no dog.

Ambitious and visually impressive as a pop-video mash-up, but, lacking a strong emotional core, it doesn't quite cohere as a fully satisfying movie.

It’s clearly made with real love and care, but shows far too much deference to its progenitor. Even in a remake, we need more originality and less playing the hits.

Smart, tough and a little bit cool, this is an intriguing opening rather than a slam-dunk in its own right, but the cast - and especially Woodley - make it sufficiently diverting to merit a place in the action franchise ranks.

Not quite as nauseous as its plot might suggest, Little Manhattan is sassy as well as sweet.

Official Secrets is a timely, ambitious if broad take on a complex subject, but remains engaging and entertaining. anchored by Keira Knightley on great form.

The cast are terrific, but byt he end, the film is struggling to stay together as much as the family it depicts.

What The Phantom Of The Open lacks in ambition or dramatic oomph, it makes up for in easy-going appeal. Anchored by an impish Mark Rylance, it takes its cue from the story’s hero: a bit ramshackle, very amiable, always watchable.

It may be contrived and nothing new plot-wise, but In Fear has atmosphere and enough proper scares to deliver on the promise of its title.

The bones of the story have been played a million times, but a talented and committed cast make this swoonsome rather than samey.

Isn’t It Romantic had us at hello but loses its spell when it has to develop its plot. Not as smart or sharp as you’d hope, it still delivers a lot of fun for those who can’t resist a bad Katherine Heigl flick.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.