As a thriller it's solid three-star tension. As a Samuel L. Jackson showcase it proves a man can only coast through so many motherfuckin' or milquetoastin' turns before having to display his full and overpowering talent.

By the time everyone's done their darnedest to undermine this romance and the tirelessly selfless St. Danny has begun to contemplate cutting the apron strings, they've all nearly worn out their welcome. It's simple, sweet and uninspired.

This unholy concoction of ideas is unlikely to become a seasonal staple, but sift through the nonsense and there’s a surprising amount to enjoy in this bonkers Noel nightmare.

Bigger, weirder, and just about funnier than the first, the second Shazam! remains entertaining despite some tiresome plotting. And who doesn’t want to see Helen Mirren as an all-powerful Greek goddess?

Half-an-hour too long, but still a fun ride.

Until Dawn wants to carve its own path, separate from its source material. Ironically, in trying to be different, it ends up feeling more clichéd than ever.

44 Inch Chest gets by on the quality of its performances.

Little atmosphere and no surprises.

A sweet but predictable chick flick, this coasts by on the considerable charm of its two leads.

Overwrought live-action sequences, surreal-to-the-point-of-bewildering animation - The Wall grabs your attention but doesn't know what to say once it's got it.

Figgis, reunited with Gere after Internal Affairs, went through the Hollywood mangle on this one, and despite flashes of insight, anything worthwhile gets lost in a script that strains too hard for truth and provokes unfortunate big laughs.

An energetic escape from Development Hell: suitably OTT, often fun and always loud. The villainy is underpowered, the plot a mess, but Cooper and Copley impress. We, er, quite like it when a plan comes together.

A tormented movie about torment; loopy, over-reaching and occasionally suspicious. Simultaneously, it is a daring artistic endeavour.

Funnier than it has any right to be, thanks to Reynolds’ charisma and Faris’ bubbleheaded blonde.

An ambitious and sloppy, yet occasionally likeable, cross-European fable.

The exuberance of the package, coupled with a sexual frankness seldom seen in English language cinema, makes this the most fun foreign film since "Y Tu Mamá También."

Sensitive performances from a willing cast bring Zola's novel to life on the big screen.

More story-led than the original with a high enough body count to make it a satisfying action movie.

A gaudy, flamboyant expose that asks a lot of its stars, and gets more than it deserves.

Less a sequel, more a virtual remake of Home Alone, this "John Hughes production" follows the same route as its money-spinning predecessor, wheeling out the well-worn precocious-kid-on-his-todd scenario with scant regard for originality.

Thin and predictable, and a flop of awesome proportions in the US, this has occasional bursts of freshness, but mostly leaves you with the nagging impression that Mathis ended up with the wrong guy.

One of those films that seems like it was made mainly for film festivals - and it has the awards to show for it.

Hit-and-miss for Howard. The tone flits, sometimes uncomfortably, from Vaughn-fuelled laugh-fest to relationship drama, but it's a winner compared to many of the clunkly comedies out there.

Wrong Turn has some decent booby-trap business but can’t find enough that is different to enliven the weary concept. But for the horror hardcore, keep watching once the credits roll.

A pitch-black, often very funny slice of pulp fiction with a number of stand-out performances, notably the ferocious Theron.

The film’s glowing, golden cinematography suggests a far warmer story than it in fact delivers, but Winslet’s stunning turn is worth a look if you can stand the consciously stagey feel.

It’s an impressively starry cast, but sadly, this lacks the charm, wit and, yes, magic of the original. You’ll like it, not a lot.

The film seems to be pitched at shrieking level, as if that’s the only timbre children can register.