There was much to dread about this new iteration of Dredd, but it's a solid, occasionally excellent take on the character, with Urban's chin particularly impressive.

Like any holiday, it is episodic and suffers from repetition but this is gag-for-gag the funniest film of the summer and a fitting end to a much-loved series. So long boys, it's been great to know you.

Too safe to shock and too familiar to really frighten, this is an overly conventional affair.

Best known until now for Oscar-winning holocaust drama "The Counterfeiters," Karl Markovics flexes his muscles on the other side of the camera with terrific effect. A fine, moving debut for the new writer/director.

Lacking the bite of "Attack The Block," Stiller and co. are happy to fall back on their usual shtick, with director Schaffer providing barely enough juice to power the laughs.

A semi-sequel to the acclaimed "Baraka," Fricke delivers another stunning spectacle in 70mm, interspersed with some tiresome sermonising.

Perhaps no more absurd than the Verhoeven version, but certainly less amusing. Farrell and Beckinsale emerge unscathed, but the endless scrabbling for novelty and reinvention leaves this feeling unaccountably stale and familiar.

It's overlong, but with its gorgeous cast, irreverent humour and beautifully drawn characters, this smart comedy-drama is the kind of movie Couples Retreat and Grown Ups should have been. Please, nobody let Adam Sandler anywhere near a remake.

The year's most fascinating and frightening doc so far, The Imposter delves far beneath the hysterical tabloid headlines.

A huge, bulging disappointment.

Sarah Polley's second film is a masterfully painted portrait of an ordinary marriage under threat, dominated by a central performance of exquisite subtlety and observation.

No less lovely than former films, in many ways lovelier, but Brave is boutique Pixar: less ambitious, more succinct, excellence at a lower ebb.

As earnestly as they have tried to continue the formerly excellent spy series, everything Gilroy and crew concoct only serves to mock the excellence and passion with which Greengrass delivered his films.

A worthy topic that deserves a slightly better documentary.

Solid production values lend a polish to the spooks and there are strong performances all round, especially from the ever-excellent Rebecca Hall, but there's little here to add to the well-worn haunted house genre.

Klayman exploits the opportunity to follow a man at the eye of a cultural and political storm, although more detail on his creative process and private life would have welcome.

A great disappointment by the "City Of God" man's high standards.

Christophe Honoré goes epic in a tale of interlocking lives that owes a debt to Jacques Demy. It won't be to everyone's taste but it's playful enough to win us over.

Greg avoids the curse of the three in the third outing for the Wimpy Kid. Hardly groundbreaking but plenty of fun for its target audience.

This barely conceivable story of neglect and loneliness is given heartbreaking new life by Morley, with Zawe Ashton standing in effectively for the tragic young singer.

Music fans will love this indie documentary. Try to avoid Googling him before you watch, though.

A mix of the fascinating and the frustrating: some of the dishes are exciting and interesting, however, 108 minutes of detail causes this documentary to fall short of its potential.

Lovely to look at and with some fun material not of Seuss' invention, but it's too hectoring, like reading an environmental textbook with jolly pictures.

Full of wit, intelligence and flair, once more Delpy has created a delightfully irresistible sort-of-romantic comedy.

Family dysfunction to make Jeremy Kyle blush, but thanks to McConaughey's oily power and Friedkin's unflinching purpose it's a compelling beast.

If Miike's re-tune of Masaki Kobayashi's bleak samurai tale is a surprisingly subdued affair, aficionados will still find enough sword-based shenanigans to keep them engrossed.

An extremely interesting insight, proving that rap music is an art form in its own right.

With spectacle in abundance and sexiness in (supporting) parts, this is superhero filmmaking on an unprecedented scale. Rises may lack the surprise of Begins or the anarchy of Knight, but it makes up for that in pure emotion.