Though stuck with stretches of guff and looking all too convincingly like video-era rubbish TV, Mindhorn delivers regular proper laughs and eventually wrings just enough drops of pathos to scrape by.

Gere proves that there’s more to his range than ageing romantic leads in a multi-layered tale of public fraud and self-deception.

A story that deserves to be heard, but like the EV1, it’s a quiet achievement that should have been much louder.

Unlike most sequels Lethal Weapon 2 is neither predictable nor conventional. It's just pumped full of juice.

Touching and funny. Waters fans should sign up now.

A fascinating documentary that captures all the glamour and grubbiness of the 20th century’s most famous nightclub. All the thrill of being there with none of the hangover.

A life story packed with incident means that this sometimes rushes past events that would be formative for anyone else, but equally means that Lamarr’s life story is never, ever dull.

21 Grams strives for greatness, and that's precisely what it achieves.

There's little tension or opportunity for emotional involvement in the brief story, and despite competent animation the cats are rarely anthropomorphised to good comic effect. One for anime - and animal - lovers only.

Unshowy to a fault, Hytner delivers a fine, moving comedy of English manners between a writer and his eccentric tenant, which slowly deepens into an exploration of human bonds.

Part film industry satire, part winning love story, Benjamin is low-key and shambling but emerges funny, bittersweet and affecting.

An effective look at women's lives in a decidedly non-Hollywood setting.

A familiar story oddly presented, but with a powerful central performance from Woody Harrelson.

LaBute has crafted one of the most explicit and hilarious films of the year; it's a slow-moving affair, with little camera movement and only the merest hint of a soundtrack.

An intimate, illuminating doc that puts the focus on M.I.A.’s activism instead of her music and is, in some ways, all the more admirable for it.

Just lovely. Tourette syndrome has not been afforded its cinematic dues, but what an affable, funny character to explore it with in John Davidson — and what a performance from Robert Aramayo.

Late Night is sharply written and warmly enjoyable, with Kaling and Thompson on endearing form. But a few extra knock-out gags and a clearer focus would really help it in the ratings.

Like any good “Weird Al” song parody, Weird takes the music-biopic template and transforms it into something utterly absurd. The result is a polka-popping, piss-taking joy.

A respectful look at the rise of the world’s biggest musical sensation, from her own perspective and those closest to her. A treat for fans, but too conventional to fully do justice to the extraordinary phenomenon.

Witty one-liners one-liners crackle and cowboy cliches are given a good kicking as the three stars give excellent accounts of themselves.

An indecently entertaining trashfest.

Smith's script simply crackles with an endless succession of humorous gags and on-the-ball observations while Anderson's brilliant performance as the shop assistant from hell is worthy of a film 100 times as expensive.

It was this love of mayhem combined with a biting comic attack on neo-fascist corporatism - most notably seen in the TV ads for products like the apocalyptic board game Nuke 'Em - which helped raise Robocop above the common sci-fi herd.

Strongly acted and effectively staged, The Boys In The Band has lost little of its impact in the five decades since its first debut, and is a fitting tribute to its creator Mart Crowley, who died in March.

A final opportunity to see a master at work in this mischievously melancholic delight.

Truman & Tennessee: An Intimate Portrait’s staid approach doesn’t always cohere into a gripping yarn but it is detailed, boasts a real feel for the fiction and, in-between the two men’s rampant viciousness, emerges as undeniably poignant.

One of the year's originals - frantic, unpredictable and very, very funny. Remove brain. See loud.

Despite some solid action beats and a story that skips from Sudan to Afghanistan, Paris and, finally, Guildford, The Old Guard is a trite revenge/conspiracy yarn, clumsily told (“That woman has forgotten more ways to kill than entire armies will ever learn”), and squanders a potentially engaging conceit.