Certainly not your standard music flick, Ebony & Ivory is challenging, abrasive and utterly, utterly odd. But if you’re on Jim Hosking’s weirdo wavelength, it’s a demented delight.

Nothing you haven’t seen done better elsewhere, this one’s a missed opportunity. McConaughey’s hard work is impressive, but that’s the only message Gold is interested in conveying.

Son Of A Gun has the gritty, rough feel of 1970s heist/hit picture

The Front Room features a remarkably funny performance from Kathryn Hunter as a mischievous mother-in-law, but its tale of lurking danger remains malformed.

It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.

A very unfocused, sporadically funny film, lifted by its (predictable) visual splendour.

A handsome period drama with the occasional impressive flourish, but despite its rich subject matter, it's Affleck’s weakest film yet as a director.

Sometimes the storytelling can feel like a stretch, but this is mostly a lively, well-told account of a bizarre toy craze gone wrong, and the big personalities behind it.

it is intermittently very funny.

If it doesn't make you at least giggle, then you clearly don't understand the true meaning of the festive season.

It's good to see Harlin back in the mountains, and while this isn't on par with Cliffhanger's thrills and spills, it's a smartly-executed little whatdunnit.

Jennifer Aniston lifts an addiction drama with a committed but never showy performance. It’s a pity the rest of the film can’t cut as deep.

The Instigators isn’t exactly revolutionary, but is a good time regardless: an easygoing crime caper offering an excellent cast a fun sandpit in which to snipe at each other.

The major fault in Exorcist III is the house-of-cards plot that is constantly collapsing.

A great cast and promising premise get swamped in an awkward mix of airport-novel noir and blokey family melodrama.

Slickly produced but seriously stupid, Tournament Of Champions won’t exactly have you running for the exits — but your brain cells might not escape the room intact.

With a predictable central story, what might have been a distinctly average film is greatly improved with stellar performances from Garcia, Thurman and, in particular, Malkovich as well as some incredible cinematography that keeps the atmosphere tense.

Peet works hard with the slight material and there are some cutely kooky moments.

Golda lives in the shadow of the film it wants to be, but Mirren’s warm performance and the claustrophobia of it all make it linger regardless.

Illuminating as to the reality of being a victim of crime in a dangerous society but not exactly absorbing entertainment.

This Tramp doesn’t really stamp a fresh personality on a story already told well. But it also doesn’t embarrass itself compared to the original and it’s got a shaggy charm of its own.

Uneven, occasionally unsavoury and at times frustratingly muddled, but there’s enough bloody, ’80s-style fun in The Predator to give it a pass from long-term fans.

Unexpectedly raucous comedy which trades off a few laughs for an interesting religious spin. Jordan can thank his lucky stars, but give himself a massive, stubborn pat on the back while he's at it.

This gritty sci-fi is undeservedly neglected and underrated.

The first of the silly VW Beetle with a cute personality comedies, is as childish dated and occasionally sweet as the others.

A sequel confident in what it's about - bigger, better, funnier, without stretching the joke.

Certainly crude and unrefined are among the adjectives that apply to this sex farce, along with derivative and shallow. Most important - and perhaps, sad -of all, is unfunny.

Van Damme once again bends and twists his muscular frame to superhuman excess, but his Belgian tonsils have all the flexibility of the Himalayas when it comes to splurting out his one-liners.