Overlong and often overcooked, this is nevertheless a relative return to form for Diesel as the fiendish Furyan.

Newcomer Mason Gamble manages to be terminally cute without getting on your nerves, and his reluctant friendship with prissy eight-year-old feminist-with-a-lisp Margaret (who tricks his friend into kissing her doll's bum and then taunts him with the "baby-rump-kisser") is simply hysterical.

It livens up a bit in the last reel when Fogg’s inventive brain pulls out all the stops to try to win the bet, but by that point you'll be too jaded to care.

A typically engaging performance from Johnny Lee Miller takes this slightly above the usual underdog movie cliche.

Sugary enough to induce immediate diabetes, this is not one for cynics.

Mortensen is on top form - twice over - but while the noir mood gathers like a black cloud, the story frustrates.

Gorgeously realised, gripping and doused in De Palma’s familiar technical wizardry, this is only let down by the director’s equally familiar uninterest in the humanity of his characters.

A confident, ambitious and action-rich Brit thriller, albeit one whose characters and clarity suffer from the frantic intensity of its pacing.

Despite the ridiculous premise and casting this is still a pacey little sci-thriller.

Mark Felt is a lacklustre staging of a fascinating episode in recent US history. Despite Neeson’s strong presence, this is a deep throat that never finds its voice.

Predictable and pleasant, with enjoyable performances.

This game and glitzy American redo of a British comedy great contains some fun and thrills but never quite explodes into brilliance. One to consider rather than run to.

Parker has a sensitive approach to the crise d'amour, but his lacklustre leading ladies contribute to an uneven tone.

Wringing the last drops out of the idea, it strains to stay on-side, but it remains true enough to the spirit of the series to get it over the line.

Undeniably effective, in its own blunt way, this deserves credit for shining light on a crime that’s — unbelievably and controversially — still denied to this day.

Not all Saturday Night Live sketches succeed in the transition from small screen 5 minute slot to hour and a half, with CB4 a fine example of one with mixed results. Rock and his group do well in mocking not only the blacks, but whites and all number of classes along the way, except the story doesn't quite manage to hold it's own as the joke begins to tire after the first hour.

The third Despicable Me film chronologically is also the third-best in terms of quality. But it has just enough energy and flashes of inspiration to suggest it’s a franchise that could run and run.

Decent premises and the promise of Billy Crystal pale in a film that fronts up to, then whimpers away from, the prospect of leaping out of its genre's boundaries.

Though slightly marred by a clunky structure and a lack of truly catchy tunes, Nine’s wall-to-wall first-rate performances from its stellar cast (especially Cotillard) add a touch of class.

Outrageous and endearing, the Zombieland team swaps horror for crime in a daft caper that's undoubtedly slight but terrifically entertaining all the same. Very fast and lots of fun.

Reasonably entertaining but hectic (supposed) finale for the up-and-down series.

There’s a little bit more polish this time, but for all the talented people involved, Let There Be Carnage still has the whiff of a turd in the wind. 

It works as a suspense-building scare machine, given heart and depth by Olsen's performance - though it's still an effective exercise in misdirection rather than a strikingly original vision, and now it's a remake of an effective exercise in misdirection.

This ankle-deep story has a cheekful of tongue, providing opportunities galore for hammy, quick-draw melodrama and the perfect vehicle for Ms. Stone.

Better than "The Transporter" but not as much fun as "Crank".

Impressively nightmarish.

Pleasant, forgettable.

A drama of upper-middle-class menace that can’t quite bring itself to be a full-on slasher movie, this has a few too many clichés but offers some creepiness and decent performances.