The CG does its part of the bargain, but even more than the brighter, breezier original this is a pale imitation of Potter.

Not perfect, but a much more satisfying Earth-in-ruins film than Oblivion or After Earth. It is a little more conventional than District 9 (what isn’t?), but confirms Blomkamp as one of the potential science-fiction greats of this decade.

Talk about a pleasant surprise! Real storytelling, well thought-out and beautifully, at times insanely, executed, with excitement, laughs and fun to make you feel seven years old again.

With Cage as a harried cop, Cusack as a serial killer and 50 Cent as a pimp, we're assuming the casting department kicked off early on this one. Still, there's plenty in this taut thriller for you to stick around for, not least the reuniting of the Con Air duo.

Not on a par with Ghibli's greatest work like Totoro or Spirited Away but not without charms of its own. A solid second effort from Miyazaki Junior.

A fun, frothy return for Frank and his creaky commandos.

Experimental and uncompromising, Winding Refn and Gosling’s Drive follow-up is a tripped-out riff on the crime family movie in which The Grifters — literally — go to hell.

Although the monochrome photography will invite comparisons with Manhattan, Frances Ha is closer in spirit to Godard than Woody Allen. Anchored by a charming performance from Greta Gerwig, it’s as light and breezy as a walk in Central Park, and just as refreshing.

Impassioned and disturbing, this documentary matches "The Cove" for marrying cool intellect with real fire.

An improvement on the last outing for Jackman’s not-so-merry mutant. If only it trusted enough in its unique setting to forgo a descent into aggressively awful formula.

Bravely refusing to rigidly adhere to a formula that has been so successful, Wright, Pegg and Frost’s Cornetto Trilogy closer has tonal shifts you won’t expect, but the same beating heart you’ve been craving.

Very physical, with intense performances and half-serious period talk, it’s an impressive, haunting picture — though the sort of thing you have to meet at least halfway to enjoy.

Made Of Stone somewhat brilliantly sees the individual moments and faces in the crowds, making this the best, most immersive concert film since Jazz On A Summer’s Day.

Alex Gibney adds to his forensic examinations of Enron and Abu Ghraib with another fine documentary. Undeterred by grey areas or the hostility of his subject, the filmmaker tackles one of the stories of our times with dynamism and smarts.

Dazzlingly clever and hugely funny, it succeeds both as a broadening of the Monsters universe and as a film in its own right. Monsters University had a tough task, and it’s passed with honours.

Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.

Bold and beautiful, this is a mystery worth puzzling over.

Girls meets Ocean’s Eleven, The Bling Ring might be a film for right now rather than the ages, but Sofia Coppola’s heist movie is visually arresting, well acted, capricious fun.

It falters in the middle and hesitates unnecessarily in setting up the love story, but Gru still has charm and kids will adore the Minions.

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

Polley’s fearless personal journey is a huge achievement, a genuine revelation — but the less detail you know beforehand, the better. Go in cold, come out warmed.

Well-acted and suspenseful, with a great deal of editorial content, this feels a little awkward and earnest, and perhaps not angry enough.

A solid, straightforward biopic about a fascinating individual and his destructive relationships, with strong performances and a healthy sense of naffness.

Now practically an exile from his homeland, Kiarostami follows Certified Copy with another film-literate relationship drama with the enigmatic overtones of Hitchcock.

A bit tarter than its predecessors, but not skimping on their woozy, chatty charm, this perfectly played, gently incisive film is a welcome new chapter in one of cinema’s most beguiling ongoing romances. See it with someone you’ve loved for some time.

It’s no masterpiece, but this is a promising debut from Boone and a good showcase for his entire cast.

It aches for more depth and warmth and humour, but this is spectacular sci-fi — huge, operatic, melodramatic, impressive. It feels the right Superman origin story for our era, and teases what would be a welcome new superfranchise.

Occasionally charming but mostly bland fare from Weitz, despite the reliable cast. About A Boy remains the best showcase of his talents.