Anchored by a strong central turn, Nowhere Boy crafts entertaining, small-scale drama out of Lennon's huge-sized legend. It just lacks the spark and ambition of its subject.

Considering how its inflammatory ambition and scattershot execution put it closer to Spies Like Us than The Great Dictator on the political comedy spectrum, The Interview should ultimately stand as the boastfully juvenile lightning rod that modern American culture deserved — no butts about it.

Though Davies says this is a celebration of what were the best years of his life — he had a doting mum, nice sisters, and school was apparently okay — you'd hate to see what he'd produce if he were depressed, for the overall mood is heavy and glum.

If Cassavetes' hipster cine-language has lost a little of its age and the innovative improv style won't be for everyone, the themes he tackles, riffed by a masterful group of actors, remain enthralling.

As with "Stuck On You," this is proof that when the Farrellys are involved (even as mere producers), ribald yet humane comedy can be mined from the most potentially offensive sources.

Sprouse and Richardson are proven heavyweights in the young-adult pocket of Hollywood, but this soft-hearted teen romance spreads on sugary sentiment too thickly to leave a lasting message.

If an uneasy mix of humour and sadness never quite gels, its message is clear and its cast uniformly strong.

Not stellar Lynch but still an enjoyable film noir.

Some good performances, impeccable craft and good intentions can’t compensate for a lack of dramatic urgency and emotional heft. The Book Thief is effective, but not effective enough.

An offbeat comedy/drama elevated by another terrific Varmiga turn.

Old School with added poker chips? Perhaps. But this Ferrell and Poehler-powered comedy blockbuster has big laughs, an enjoyably grisly streak, and a film-stealing turn from Jason Mantzoukas.

The plot is one the original writers would have been proud of and with Garner, himself, appearing it gives the film a seal of approval. A rare performance from Foster who is surprisingly funny and Molina giving a good supporting performance, it's an enjoyable family film.

A relatively enjoyable kids' movie that will entertain the kids, but unsurprisingly may leave the adults cold. From the director of The Wonder Years, it doesn't break any new boundaries, but rather sticks with what he knows best, that is sentimental childhood comedies.

With Ember's hydro-electro-punk charms, Kenan's convinced us he's one of Hollywood's most exciting (and excited!) visualists. But on the evidence of this, his storytelling skills still need honing.

Comedy for grown-ups that sometimes struggles with its ambitious brief, but always remembers that the best laughs contain the odd shard of shrapnel.

A riot of confused, clever and dazzling moments, Toys is a true formula-defying one-off for which the phrase love it or loathe it might have been coined, and one so audaciously zany that you will be captivated or enraged.

Spectacular and well-acted, this suffers from much the same problem as the situation it depicts — too many people on the mountain and too many threads to follow so that affecting individual stories get lost in the snow.

Another 'nice' Sandler comedy that works, thanks to some smart and genuinely moving ideas at its core.

Joe Wright brings fun and imagination to an oft-told tale, even if the story beats offer few surprises. Still worth seeing for a compelling Peter Dinklage turn.

A decent, if inessential, take on one of Stephen King’s best novels. Sometimes original is better.

The first Mamma Mia! often felt like being trapped on a non-stop rowdy middle-aged all-singing all-dancing holiday (in a good way). Ten years on this second trip feels older and wiser, for better or worse, and despite the odd misstep you’ll still be dancing in the aisles come the end credits.

Another all-kicking, punching, shooting and exploding dose of Besson born action, and Jason Statham proves that his action mettle in the first instalment was no fluke.

A solid, straightforward biopic about a fascinating individual and his destructive relationships, with strong performances and a healthy sense of naffness.

It's Sarah Polley through and through: slightly too glum for its own good, but reeking of quality and feeling.

The acting is wooden, but fans of the director’s more shocking work might enjoy its gentle self-referential comedy.

Murakami's 'unadaptability' for the screen is self-evident to fans of his books, but this is a noble if bleak first stab.

Lightweight but likable.

As awkward as McGregor's geeky hero and almost as confused as the titular plan, Salmon Fishing is still very likable if you're prepared to take the bait. And it might even be Scott Thomas' funniest turn since "Four Weddings And A Funeral."