Barrymore, among the most consistently admirable women in showbiz, can proudly add a Guides badge for Meritorious Directing to her many other achievements. Excellent emo chick coming-of-age drama plus broads in fetish gear battering each other on roller skates -- frankly, a film that offers something for everyone.

Admirably low-key, deeply compelling and their warmest movie since Fargo.

Compelling performances and some stand-out scenes but this lacks the cohesive language of "Elephant," for example.

An indecently entertaining trashfest.

More a snapshot of a moment than conventional biography, and while less complex than it might want to be, still a quietly thoughtful look at one of the 20th century’s most influential characters.

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

Tackling such un-animation topics as loneliness, body image, alcoholism, suicide and Asperger’s syndrome, it’s quirky, compassionate and slightly seedily sweet.

A barbed study of the American economy puts capitalism in the dock but somehow fails to convict.

It sets out to be less pompous than similar films, which inevitably means it feels less substantial. While amusing rather than hilarious, it ought to establish Matt Damon as a star character actor.

Falls between romance and drama without really satisfying either.

Fox is fun as a demonic harpy, but sadly the meeting of Hollywood’s two rock’n’roll queens is closer to safe studio product than slash-and-burn envelope-pusher.

Surprisingly successful adaptation of J. M. Coetzee's superb novel.

Superbly played and realised, this stays with you.

Campion has created another resonant paean to love’s pain and joy, and gives new life to John Keats, too often now associated with dusty school books.

Comes across as more 80s TV movie than 50s period piece.

Even the gratuitous nudity can't quite save a Heathers-goes-to-college horror that's undermined by a silly plot and clunky dialogue.

Not exactly genre-bending innovation or anything but a decent documentary about an important episode in history of oil company exploitation.

A moody, engaging end-of-the-world horror-drama, if a bit too apocalypse-lite.

Light and entertaining, if a little clunky at times.

The novelty factor stops and starts at the 3-D specs: this is a horror movie on tracks, not going anyplace new. Still, there’s some inventive grue-splashing as always.

A splendid study of the forces and passions behind the world’s biggest fashion magazine.

The target audience - pre-teen girls - aren’t going to notice the many shortfalls behind the camera. What they’ll enjoy, regardless of quality, is some naughtiness true to the spirit of the series, Russell Brand and Girls Aloud. For the rest of us it’s tougher going with mostly Everett and Firth to see us through.

Disappointing third act to this brave drama about love and sex in our later years.

One man’s near-emotionless trip through an event that was the high watermark for US counterculture moves along without any real sense of purpose or pace.

With a confidence typical of its director, the last line of Inglourious Basterds is, "This might just be my masterpiece." While that may not be true, this is an often dazzling movie that sees QT back on exhilarating form.

Fascinating history, very good movie -- but demanding, and its lack of easy answers will frustrate some. Lessons about 21st century terrorism are implicit, but not overly stressed.

Think Donnie Brasco, with the IRA instead of the Mafia. Jim Sturgess dominates with a star-making turn, although some stylistic slip-ups let him down a little.

Subtle and multi-layered film-making with compelling performances.