At two hours, something as thin and unexceptional as this, is just too long. The result is that all the running gags run out of steam and there are far too many fudgy bits between the comic highlights. Nevertheless, lightly likable.

Entertaining in places, if only for the fact that unlike most 50s si-fi films, the aliens are treated with some sympathy.

Murray's initial transition from the small screen is a classic.

An Amityville for the YouTube age: potent, primal and genuinely frightening.

A gripping, moving, sometimes frustrating portrait of a man consumed by a need to speak up, even as he wonders if anybody’s watching.

This is Bond film that dutifully ticks all the boxes — but brilliantly, often doesn’t feel like a Bond film at all. For a 007 who strived to bring humanity to larger-than-life hero, it’s a fitting end to the Craig era.

From Phillippe Rousselot’s exquisite cinematography, with the stunning scenery of Montana as a backdrop, to Redford’s assured direction, this is utterly alluring, and manages to make fly-fishing seem not just romantic, but thrilling.

Atmospheric and chilling, Out Of Darkness doesn’t reinvent the wheel, but adds some thoughtful twists to a well-worn genre. It’s an intriguing sign of things to come from a new filmmaking voice.

Captivating and poignant portayal of life on the edge for the disregarded of our societies.

A gentle, enjoyable musical fable.

At once awe-inspiring, jaw-dropping, eye-rolling and head-scratching, this is animated cinema on a scale rarely seen. It doesn’t always hang together, but on its box-office achievements alone, Ne Zha 2 has earned a place with the immortals.

Given the obvious influences on The Double, it could have felt like a facsimile of other films. Instead, it has enough individuality, imagination and idiosyncratic invention to identify it as a true original.

Rinko Kikuchi's superb core performance and some striking photography stand out in the latest feature from the Zellner Brothers.

Jarmusch leaves us with a highly entertaining and thoroughly oddball collage celebrating the typically inconsequential nature of most daily encounters.

Sartorially dated certainly, but still powerful, disturbing and raw.

An important story of injustice inspires but fails to fully ignite, despite two towering central performances from Jamie Foxx and Michael B. Jordan.

In trying to tell an enormous amount of story it can spread itself too thin and leave some strands feeling unfinished, but when it’s at its best, this is beautiful and bold filmmaking.

Despite half-a-dozen recent attempts to "correct" this biopic, Minnelli's agonised portrait of the life of Vincent Van Gogh remains the definitive movie word on the subject.

Ironically, it lacks journalistic rigour but it's a fond, nostalgic look at the gilded history of the Grey Lady.

A worthy diversion for the very young, but against their more venerable stablemates - notably DuckTales - The Rescuers's identification/memorableness factor remains second division.

The pace never slows, the jokes never miss and the stunts never disappoint in this macho-dream of an actioner.

Adèle Exarchopoulos excels in this dark, elemental drama. A sensory delight that marks Léa Mysius as a filmmaker to get excited about.

1666 mostly operates in a different register than 1994 and 1978, but is no less entertaining. It rounds off an ambitious triptych chock-full of horror-history allusions, strong world-building, sharp scares, palatable gore, lively filmmaking and a likeable set of characters. Other scary-movie franchises take note.

Ostensibly a haunted house story, it manages to traverse a complex world of incipient madness, spectral murder and supernatural visions ...and also makes you jump.

It's a tale told with considerable warmth and humour, some spiffing explosions and a multiple-hanky act of self-sacrifice to round things off.

Star Wars really does begin here.

David Corenswet takes on the blue-and-red mantle admirably, and glimpses of Gunn’s signature sense of fun shine through — but a lack of humanity, originality and cohesion means the movie around them just doesn’t work.

An extraordinary and visionary study of a legendary murderer’s famous fate, within touching distance of Oscars.