Splashing around in the same mad puddle as Lynch but a good deal funnier, this tale of a man with many faces is an exhilarating, audacious, lunatic rocket-ride. Hop on board.

A few plot holes hold back what is otherwise a well cast and compelling picture.

An animation that never drags itself out of mediocrity despite the best efforts of gifted animator Tartakovsky.

Six years after "Little Miss Sunshine," Dayton and Faris deliver a comedy that sparkles with wit and substance. But from the script to her portrayal of the title character, Ruby Sparks belongs to Zoe Kazan, who joins the likes of Sarah Polley and Brit Marling in the rarified ranks of actress/screenwriter double-threats.

Beautiful, funny, timely and tender, this is the American arthouse movie of the year.

An honest, affection-hooking, coming-of-age drama which proves that there is life beyond Hogwarts for Emma Watson.

It lacks filmmaking fireworks but Liberal Arts is a B+ for Josh Radnor: strong writing, great performances (Olsen is the real deal) and a touching, upbeat tale for the big-brained and big-hearted.

The first one offered the novel sight of Oskar Schindler going Commando. Unfortunately, this half-hearted sequel is low on novelty and lower on fun.

Derrickson bounces back from his insipid redo of "The Day The Earth Stood Still" with an effective chiller that's got a skeleton or two in its closet.

A delight from start to finish.

If weapons and wizardry get your blood up, and you prefer your movies dark and brooding and minus the sandals, Solomon Kane fits the bill. It may lack The Lord Of The Rings' majesty, but Robert E. Howard fans will lap it up.

The Campaign gets by on its stars' comic compatibility and a relentless stream of jokes, many of which are laugh-out-loud funny. The only real downer is the ending, which feels tacked on like a hanging chad.

A few old favourites – like the inconveniently wonky torch and the probably-not-quite-killed maniac – deliver the required jolts, but early promise dwindles to hokum.

Bursting with insights and a droll sense of the absurd side of fashion, it's a fitting tribute to one of the industry's key figures.

What could have been an effective excoriation of US drug policy and a proper look at the violence inherent in the trade is wasted on a simplistic thriller that offers very little, especially given who is behind the camera. Sorry if that harshes anyone's buzz.

Lightly humorous, well performed and not nearly as smutty as you might imagine. The earth may not move, but there are tingles of pleasure along the way.

Intelligent science-fiction sometimes seems an endangered species - too much physics and there's a risk of creating something cold and remote, too many explosions and get lost in the multiplex. Looper isn't perfect, but it pulls off the full Wizard Of Oz: it has a brain, courage and a heart.

A good, efficient crime thriller, let down by clunky social commentary but lifted by excellent performances, including perhaps Brad Pitt's recent best.

Good fun, but O'Nan doesn't take this film nearly as far as it could go, leaving the plot and its characters somewhat two-dimensional in their obvious stereotyping.

More madness in the midday sun than Midnight In Paris. Baldwin, Cruz and Davis shine in a farce that overstretches itself into bellylaugh hits, but also some satirical misses.

A movie that while thin and silly, moves with such joyous speed that you almost want to throw your arms in the air and scream.

Very funny, it's also penetrating on the ravages of time on love and marriage and sweetly touching, but with abundantly incongruous randy content to heartily amuse.

Ingenious and wonderfully detailed, though better in its imaginative horror than its slightly too-broad comic knockabout. It's not quite on the level of Coraline, but it's proper summer fun with some dark delights.

It exists basically as a long showreel for Superman-to-be Henry Cavill, who gets to demonstrate a mastery of run-with-a-gun acting and flex his leading man charisma without really breaking a sweat.

The early franchise frights are missing. There's some ironic light-heartedness in the nuptial set, the religious overtones are distractingly self-conscious.

A moving drama set against beautiful Latin American backdrops - just don't expect fireworks.

If it doesn't ultimately engage your heart as it might, Anna Karenina is period drama at its most exciting, intoxicating and modern. Spellbinding.

Not nearly as terrible as burped-out Sandler disasters of recent years, there's enough funny stuff here to remind us of his talent. Still, it's not for everyone.