Smug and lazy comedy that barely raises a chuckle.

Powerful, terrifying and soulful, this real-life Hurt Locker is an intimate, often brilliant insight into combat and comradeship.

They make a fun duo, but none of the constituent genres work in this overbearing action-rom-com.

A stately, rich and moving Italian melodrama in the spirit of Visconti.

A kids’ movie for grown-ups. A grown-up movie for kids. Exactly what you’d expect -- and hope for -- from the latest, and we’re guessing final, Woody and Buzz adventure.

Isn't one "Wild Wild West" enough? Okay, so Jonah Hex didn't come with the same expectations, but it's still an object lesson in how not to adapt a comic book. A crushing disappointment.

The Duplass brothers enter the mainstream with a touching, original and supremely funny film, whose improvisational style sets it apart from other comedies, and marks the emergence of two major new talents. Great performances, too.

Smith might be the focus, but while he’s got the charisma and the moves, it’s Chan who makes it punch above its weight. Nice scenery too.

An energetic escape from Development Hell: suitably OTT, often fun and always loud. The villainy is underpowered, the plot a mess, but Cooper and Copley impress. We, er, quite like it when a plan comes together.

A beautifully designed but overly formal biopic that can't match the greatness of the artists it depicts.

A vivid reworking of Daniel Woodrell's novel that brings the book's conflicted heroine to searing life in a piece of unhurried filmmaking too rarely seen these days.

Funny, whimsical and as warming as a big bowl of Irish stew.

Like most of the recent exports from Apatown, Get Him To The Greek -- aka Russell Brand’s My Filmy Wilm -- is patchy, but home-run hilarious from time to time. If only it didn’t detour into darkness so often, this could have been a genuine treat.

A documentary that practically defies description, Grimonprez's film is playful, provocative and very, very watchable.

Its restraint might put off thrill-seekers, but if you can endure the wooden dialogue and sloppy exposition, it musters the entertainment quotient of a middle-order Harry Potter.

Jeunet himself describes the film best: Delicatessen meets Amélie. But we'd add that, while it's certainly breezy fun, it's not quite as good as either.

Always intelligent and thought-provoking, it's a welcome return from Amenábar.

This feels bigger and more cinematic than the first film, and sees a progression in the lives of the characters. But many of the jokes are beyond broad, and the Middle Eastern stereotypes are shockingly cack-handed.

More Pistachio Disguisey than Austin Powers, this cheapjack comedy is nowhere near as ingenious as the man it sends up.

There’s no doubting the energy, but without Colin Farrell’s fervour, or any novel spin, it’s no more than treading water from this gang.

DreamWorks could be entering a period of fresh creativity. With How To Train Your Dragon and a balanced, darker-hued and very funny Shrek finale, they’ve found the magic again.

Grown-up but not too serious; action-packed but not juvenile… Not only is this the mullet-free Robin Hood movie we’ve been waiting decades for, it’s also Ridley Scott and Russell Crowe at their most entertaining since Gladiator.

More Oh Mama than Mamma Mia!

Play It Again, Eric... Ken Loach perfectly captures the feeling of football and the need for hope. Touching and hilarious — a blinder.

Rourke and Rockwell make satisfying, complementary villains, while Downey Jr. delivers again. Shame this sequel feels inessential, over-busy and a little, well, mechanical. Nothing they can’t put right for Iron Man 3.

A often grim vaudeville parade of Nashville's oddballs and ne'er-do-wells.

Funny and unthreatening, it's not subversive but it's plenty of fun.

A sometimes whimsical and magical take on the life of one of Britain’s most artistically charged rock stars. Serkis shines in his role as the troubled singer.