The Outfit follows a pattern set by countless gangster flicks of the past, but its freshness is in the intelligence and surprise of the script. Like a well-made suit, it’s not old-fashioned — it’s classic.

Raiff’s assured and intelligent writing and direction, paired with the strength of its acting ensemble, make this an irresistibly charming, emotionally rich treat.

If it could decide whether it was a cute romcom or a dirty one, Man Up would be a real gem, but as charming as it is, it falls between two stools and never manages to, ahem, Man Up.

The lines between artist and muse are too clean cut to capture the visceral and intimate emotion of two lovers. Broomfield’s approach feels more intrusive than reflective, reducing the private story to public gossip.

22 July takes a helicopter view of a terrifying, unthinkable tragedy, perhaps flying too high to capture all the nuance, complexities and emotion. Still it has great stretches and a terrific performance by Anders Danielsen Lie.

A tangled narrative and damp-squib ending detract from an otherwise joyous Spaghetti Eastern.

Streep and Eastwood's chemistry makes the film.

Lushly photographed by Andrei Zhegalov and impeccably played, it’s a long-overdue corrective to the kind of wildly patriotic war film produced in the Soviet era.

Perhaps it was not intended to serve as a sequel to the fabulous "Dogtown And Z-Boys," but Helen Stickler's documentary does pick up where Stacey Peralta left off, following skateboarding into the '80s boom.

Working from her own story idea, producer Daisy Ridley shines in Magpie, an adultery thriller that’s a little too cool and calculated to truly ruffle viewers’ psychic feathers. 

Die Hard karaoke this may be, but it delivers — and eclipses at least two of John McClane’s outings in the process. Look forward to future eye-rolling debates as to whether it qualifies as a Christmas movie.

Without doubt, Jaa's a star — a man very possibly worthy of the 'new Bruce Lee' tag.

A uniquely British blend of excruciating comedy of embarrassment and outright grue, not quite as disorientating in its mood shifts as Kill List but just as impressive a film.

A rich and imaginative evocation of a family in turmoil.

Packed with style, charm and a barrel-full of shrapnel for good measure, The Harder They Fall will still be standing when the smoke clears. The Bullitts doesn’t miss.

A thumpingly didactic script, but Palcy has crafted a watchable - if not particularly important, given its competition - one.

The execution doesn't quite enliven the premise, but there's still enough enjoyably offbeat moments here to make this one worth digging up.

While less beguiling than "Capote," Infamous remains a soulful and searching portrayal of the writer, carried with immense charm and vivacity by its leading man.

A return to fun, and a return to form for the new version of the old Trek. The 13th Trek movie is also the second good odd-numbered instalment in a row. Lucky for some.

It starts off well enough but slowly sinks under the leaden weight of its worthiness.

By smuggling canvasses out of Nazi Paris, she was “midwife” to Pollock and Rothko. “Art,” the doc claims, “was a mirror of her own strangeness.”

The film's period settings and spectacular on-stage showbiz set-pieces are fabulous, its meandering script much less so. The thing feels like a movie with its heart ripped out.

Felicity Jones shines in Drake Doremus' deceptively simple romance, a refreshing take on an age-old dilemma.

As thrilling and smart as it is terrifying. There have been a number of big-gun literary series brought to screen over the past decade. This slays them all.

Once the political correctness is side-stepped, this contains classic chemistry from its two leads.

Of course it's hokey and silly, but Reiner really knows how to skirt potential schmaltz and there is a political backbone to the piece which gives it reassuring depth.

It'll never be remembered as a Hitchcock classic by any stretch, but that is far from saying it's the mess that some regard it as. It's entertaining, and the visuals speak volumes more than the over-cooked dialogue. Worth a look.

A compelling curio from Werner Herzog, who investigates a strange real-life phenomenon through a fictional lens. It's worth watching, especially if you enjoy Herzog's lateral take on life, but it's hard not to wish he'd just made it as a straight documentary.