The remake/parody sequences - trailers for which are on the official site - are outstanding, but Black’s all-over-the-place mania and Mos Def’s slightly too bland orphan hero don’t quite tie the rest of the picture together. Still, it has heart. And you’d rather see this version of "Rush Hour 2" than the original.

Some okay thrills with good performances and some smarts. But the last reel plunge spoils things. Myth for the new millennium: any average, out-of-shape middle-aged Yank, including the President, can get in a punch-up with a few well-armed, super-trained terrorists, and win.

A raw, vivid despatch from the frontline, this melds content with frights in classic Romero style. An outstanding exercise in showing the kids how to do it.

Sweet, funny, simple, entertaining -- everything a good rom-com should be. Definitely...

It’s Liman’s least charismatic action movie and the least developed, but it still packs some cracking action into its brief running time and lays foundations on which a great franchise could be built.

A late entry in a crowded field, Spiderwick works hard to set itself apart from the competition, and almost entirely succeeds - no mean feat these days.

A heartfelt, wry and decidedly spry film.

Absolute tosh. A ridiculous, unerringly tedious plot is weighed down by listless performances from a cast who clearly wished they were somewhere else, despite the sumptuous locations.

Ugly in more ways than one.

With In Bruges, the British gangster movie gets a Croydon facelift. It may not be new, but it’s a wonderfully fresh take on a familiar genre: fucked-up, far-out and very, very funny.

An effective look at women's lives in a decidedly non-Hollywood setting.

Rambo could have been a satisfying romp - wherein bad dialogue and cardboard characters can be forgiven - but for the sin of making the main man step to the sidelines in favour of charisma-free fillers. Bad move, Sly...

A competent suspenser, helped by the always-dependable Diane Lane, but it suffers by following the modern thriller playbook to the letter.

Tense, kinetic, intelligent and real – as if Paul Greengrass had remade Vera Drake.

It's not for nothing that these guys are the world's finest live act.

A dazzling experiment that paid off immensely, this is cinematic pleasure at its purest. One caveat: If they ever make a sequel, we’re taking two stars back.

Cute, cute, cute. No bouquets for originality, but it pushes all the buttons of this mini-genre, and Heigl and Marsden ring dem bells.

A gentle, enjoyable musical fable.

A good old-fashioned horror in the best possible way, this is a beautifully told, terrifying ghost story that lingers with you long after the shivers have stopped.

Uncompromising, intelligent and searing cinema. Along with The Assassination Of Jesse James... and No Country For Old Men, this is the best batch of Western-set dramas in decades. John Huston would have been proud.

An early but strong contender for worst movie of 2008.

The script is weak and obvious and the direction disappointingly unimaginative. But stars are stars, and the old boys are terrific - enough to make this a funny and sometimes moving buddy picture.

The monochrome animation is stark and beautiful, and Marjane’s an appealing narrator. Often hilarious, sometimes tragic, this may be low-tech, but it’s high-class.

Likeable stuff despite being slow paced and rather sentimental.

Extremely enjoyable. Although it’s a little tonally unsure, whenever Hanks and Hoffman are on screen, any misgivings are forgiven.

A turgid action sequel that loses sight of plot and characters in its humourless efforts to impress.

Gerard Butler stars in a very good film where he helps a guarded woman get over a tragedy in her past. It’s called "Dear Frankie" - go rent that instead.

Whether horror fans are ready for high-notes or musical buffs will appreciate Dario Argento levels of gore is an open question, but this is a rich, demented experience.