A strong opening, bursting with wit and vigour, gives way to a predictable, patronising and immensely lazy second half. Could have been so much more.

The plywood acting’s pretty funny, as is the coy sex; what amazes is the beautifully lurid, near-fetishistic set design.

Mildly titillating, but not very good.

The missing link between '00s wushu, '80s kids' fantasy and '70s chop-socky, this manages to be thoroughly entertaining - and the face-off between Chan and Li is worth the entrance price alone.

A tropical sex comedy that’s a little unfocused, but Segal and co throw plenty of funniness at the wall - and most of it sticks.

A frustratingly soft documentary that would sooner teach the world to sing than get to the bottom of the Bin Laden enigma.

A brilliantly high-concept title and some decent gore aside, you're better off watching the version in your head. It will be infinitely more fun and have markedly improved production values.

Strong performances and a few laughs, but the story feels lazy next to superior efforts recently in the same genre.

Another mean, violent and decently acted slab of Ellroy-flavoured criminality, with an impressively battered Keanu Reeves, but Ayers is no Curtis Hanson.

The tension dips occasionally but stick with it and you'l be richly rewarded.

On paper it looks like a gem – roaring 20s setting, verbal fireworks and a silly sport in its rude infancy. In practice, it's way off the pace, far too slow for its screwball pretensions and the kind of film that confuses pastiche with period detail.

Smarter than it sounds and carried by a very funny performance by Foster, this is a kids’ movie that’s bearable for adults too.

Slick, sick stuff, but save the odd squirm, a killer-plant horror that doesn’t grow anywhere.

A triumph for Scorsese and a document for the band, Shine A Light is a five-star experience for Stones fans. For those less enamoured with the ageing rockers, it goes a long way to explaining their longevity.

The Ocean’s Eleven: The College Years mood makes for a breezy good time, even if there is, like Vegas, precious little substance beneath the glitz.

Thanks to the captivating performances, this is well worth checking out.

A farcical romp but, being French, it's hugely glamorous and dripping with style.

Strong performances from the young cast make a compelling case that the US govt is failing its soldiers, but the film’s a little too much of a blunt instrument.

This super-powered spoof just doesn't fly.

An interesting first effort from Nichols - making him a director to look out for in the future.

It just scrapes two stars on the strength of Wilson’s best efforts. But for God’s sake, someone give this man a sparring partner.

There's a heartwarming quality that softens the hardcore setting but this does lack an assured, er, hand.

Marshall's film is crammed full of good ideas but doesn't have the cohesion to pull them all together. Less effective than "Dog Soldiers," never mind "The Descent."

Charming, funny and great turns from a cast with no finger-wagging. But if you don’t like psychosis-inducing imagery, steer clear.

"The Karate Kid" meets "Fight Club" but it's no way near as good as it sounds.

A stylish, darkly satirical horror-thriller, raising serious questions about Hollywood’s sanitisation of violence.

The mammoths aren’t all that is wild and woolly in this innocent, old-fashioned, amusingly self-important, entertainingly mad, rip-snorting throwback to vintage Saturday matinee fare, with all the swell set piece thrills state-of-the-art technology can throw at it.

A quartet of great performances and gorgeous scenery go some way to compensating for some strange variances in tone.