A by-the-numbers biography, this sheds little new light on an icon but features a soaring performance from Kingsley Ben-Adir.

It’s an audacious swing — but ultimately a miss from a pair of filmmakers who know exactly what they want to say, and haven’t yet mastered how best to say it.

An often effective reboot, this does everything you’d expect, but that’s a real shame.

More Pistachio Disguisey than Austin Powers, this cheapjack comedy is nowhere near as ingenious as the man it sends up.

An improvement on the first film, in the end, and an encouraging rallying cry against fear and intolerance, but it’s still far too busy and baroque to match its leading lady’s elegance.

Allen’s films have always had a feeling of melancholy to them, but this -- the first film Allen has written after the fall of the Twin Towers -- harbours a sense of dark unsettlement amid the neurotic romantic comedy.

There are first-time filmmaker flaws — at times, the characters feel like pawns in a pre-ordained plot — but Bettany has a real gift for finding grace in the grimness.

Most of the fun comes from the Davis/Jackson pairing and some frantic action scenes, though problems include too many "meanigful" close-ups of cigarettes being lit and booming (appropriately) sound.

An awkward mix of realist social drama and Statham actioner, this doesn’t quite convince as either.

Dire, B-movie cheese throughout, this gives no clue that Pitt - or anyone else involved - could ever have a career in Hollywood.

Entertaining in places, Medicine Man suffers from a predictable story and annoying supporting characters.

Not even Nicole Kidman playing off Kathy Bates — or Zac Efron singing Cher's Believe — are enough to save what should have been a surefire hit from Hallmark musings and tired clichés.

Unfocused and uninspired, Night School has its moments but is held back by a script that required more study.

Since the adorable, simple Garden State, Braff’s ambitions as a filmmaker have grown. He’s reaching for answers to really big questions, but they are, just slightly, beyond his grasp.

Perhaps no more absurd than the Verhoeven version, but certainly less amusing. Farrell and Beckinsale emerge unscathed, but the endless scrabbling for novelty and reinvention leaves this feeling unaccountably stale and familiar.

in the end, Paycheck never quite cashes out.

Hope may float, but this bore flounders beyond salvaging.

As a barrel of easy, unsophisticated laughs, Kingpin delivers in spades.

Trying to break expectations isn't always a wise idea and here Disney show how not to do it. With this supposed-family movie, they disappoint on nearly every level. The plot is weak, the action poor and it's got Bette Midler, simply dreadful.

Less melodramatic and earthier than the classic 1939 version with Olivier, Robert Fuest’s take still heaves with passion thanks to Dalton’s fiery chemistry with Anna Calder-Marshall’s Cathy. John Coquillon’s cinematography expertly captures the drabness of the Moors setting, while Michel Legrand offers a haunting score.

An uneven tone and the feeling of too many cooks mars the finished product, but there are moments of beauty and real terror.

A touching melodrama illuminated by a solid turn from Tatum.

Not quite a complete write-off, but basically a folly.

Though there's an obvious, admirable effort to supply character development and plot twists, the set-work and special effects - both stylish and stunning - tend to dominate.

A great disappointment by the "City Of God" man's high standards.

A prime example of what works in a book not working in a film.

Sequelcraft 101 – if you liked the others, this is more of the same. Extra points for using a nailgun on pigeons.

Though solidly made and bolstered by the always-engaging Daisy Edgar-Jones and Harris Dickinson, Where The Crawdads Sing struggles to live up to the promising popularity of its source material. A flat, flair-free and uninspiring adaptation.