This smart and funny creation is not just wish-fulfilment for the "Sex And The City" generation -- it's a Wall Street for the 21st century.

It’s all about heart - not that the spectacle falters; this is the finest popular entertainment since the Rings trilogy closed. Superman doesn’t fly - he soars.

A story that deserves to be heard, but like the EV1, it’s a quiet achievement that should have been much louder.

Another 'nice' Sandler comedy that works, thanks to some smart and genuinely moving ideas at its core.

The predictable plot and gags make you feel like you’re watching it in cat-years, but there are a few successfully silly set-pieces that will delight kids.

A compelling idea delicately handled and neatly played, especially by Bullock. It just lacks the emotional directness to turn the good into the great.

A daft idea perfectly calibrated to Black’s pop mania, then hermetically sealed by a director who thinks he’s making a Hal Hartley movie.

Judged against previous form, this is not Pixar firing on all cylinders, lacking the sophisticated comedy we've come to expect. Judged against fare from other studios, however, it's a triumph.

Not one of Altman’s masterpieces, but aficionados will find pleasures in a bittersweet swansong from the grand old man.

Competently made, and enjoyably played. But you do really end up wondering what the point was. Cinematic déjà vu is the most likely response.

The Break-Up doesn't turn the rom-com on its head, but with its focus on the darker side of love manages to gently tip it on its side.

The cast hurls itself into the comic-book violence, while the stunt choreography and razor-sharp editing are exhilarating.

Singer's absence is felt but not fatal. By adding too much new blood Ratner loses some of the original DNA, but with its nifty set-pieces and a few nasty surprises, X3's still a worthy enough sequel to ensure it’s no Last Stand.

Powerful, intelligent and surprisingly entertaining.

One of the most talk driven summer flicks in living memory, an out of sorts Howard transforms what should be a fun treasure trail romp into something inert and borderline dreary.

You'll soon be sick of digital furballs, but there’s plenty of fun here.

A compelling, intelligent and provocative sins-of-the-father story with a terrific ensemble cast, and a standout Mr. Ripley turn by the ever-versatile Gael García Bernal.

A shot in the arm for the classic disaster movie: awesome effects, nail-biting tension and a cast of characters we don’t want dead after half an hour - even, amazingly, the cute kid.

Occasional funny moments but this is very very thin.

An unforced, engaging and surprisingly incisive account of the disintegration of British rule in Africa.

A fond and always accessible portrait, but the lack of objectivity and drooling images of Gehry's work deprives this documentary of any objectivity.

For all its self-conscious pizzazz, this is irresistibly entertaining.

An inspired middle-hour pumped by some solid action gives you an idea how good the franchise could be, but we now live in a post-Bourne, recalibrated-Bond universe, where Ethan Hunt looks a bit lost.

Never has the term 'American Independent' so obviously been code for 'wholly miserable experience'.

The script fights well against the cliche-ridden plot but this is very average all round.

Impossible to recommend as a great Friday night out, yet agonisingly vital as thought-urging cinema.

There's charm in this simple underdog tale, but clunky plotting and characterisation mean it has 'telemovie' written all over it.

Williams' virtuoso hijinking and Daniels' Huggy Bearish bonhomie save this from complete ignominy, but we’ve seen it all before.