Director Yang Joon-hyun works scrupulously from the Hollywood serial murder playbook, and delivers something which does its job, even as its last reel flounders with several too many plot twists, but has no particular reason to exist.

Now, it's a slower film, with a little more intellect and sentiment, but perhaps the added time to think will make you feel less overwhelmed.

In seamlessly interweaving top-notch CGI and incredible stuntwork, Cohen has delivered some of the finest auto-action ever put on screen.

Most unforgivably, the period detail is all over the place and the punk/disco soundtrack a real hotch potch, leaving this a story with no real sense of time or place.

Director Bong’s on song for his dark debut. A little rough around the edges, Barking Dogs Never Bite still delivers the blackest comedy lightened by some thrilling filmmaking, a clear calling card for Parasite. Caninophiles beware.

After Ned Kelly, Jagger needed a hit and Performance was it. Although playing a rock star probably wasn't the greatest challenge, he more than holds his own against Fox in a psychedelic classic.

A welcome antidote to anodyne Hollywood cartooning.

Though Spike Lee would clearly like this movie to remind you of ills-of-TV satires like A Face In The Crowd and Network (there's a spin on the well-remembered "mad as hell" speech), it comes out as a weird, unsatisfying hybrid of Robert Downey Sr.'s Putney Swope and Mel Brooks's The Producers.

Complemented by its black-and-white photography and a moody DJ Shadow score, this is a gritty yet often tender look at society's margins.

Even while laughing at lines like, “Black people don’t do bungee-jumping, it’s too much like lynching,” you’re still left thinking that the funniest man in the building was not actually in front of the camera.

Great cinematography captures the spectacular scenery and the directing is as assured as the stimulating array of characters.

While it's all grand opera, and driven by sweeping gestures and pompous, overwritten dialogue, it is prone to plain silliness - especially in granting us the big showdown at the close. But the sheer dynamism of the action, coupled with Hans Zimmer's lavish score and the forcefield of Crowe, still makes this a fiercesome competitor in the summer movie stakes.

An ambitious and sloppy, yet occasionally likeable, cross-European fable.

This imaginative and intriguing Anime deserves all the plaudits heaped upon it.

Strange, stylish and intelligent, this is a rare anime film that delivers on its Eastern promise.

As absorbed as he is with his characters, McTiernan is still able to provide a couple of dazzling set pieces - the sustained opening heist (involving a pun-intended Trojan horse) is a doozy, while the Magritte-inspired, music-fuelled denouement is, well, inspired.

However you dress it up, laughs where there should be frights is patently piss poor.

A straightforward camping-holiday nightmare, or a sly, ironic take on the same. It works deliciously as both.

The best Muppet movie for some time, adding film references a-plenty, dark, edgy comedy and even a touch of post-modernism to the usual all-singing, all-dancing ridiculousness.

Assayas' attempt to present a multi-perspective Polaroid view of Adrien and his circle fall back on the tired technique of abruptly punctuating grainy, handheld sequence with jump cuts. A disappointingly sterotypical French film.

Mike Figgis raised enough cash to make this with a pretty good cast and a lot of technical skill, but it's still hard to endure at feature length.

Zeffirelli's mawkish tendencies are checked by Mortimer's funny, richly observant screenplay; it's rose-tinted but plays up character and everyday detail rather than wallowing in war-movie villainy.

Despite the gritty subject matter, combined with some clichéd set pieces, interest is retained right through to the bleak end, largely due to the direction and Refn's handling of the excellent cast.

Entrapment ambles lazily through its set-up and features only one (admittedly impressive) stretch of white-knuckle daredevilry as our heroes dangle off the tallest building in the world (which is in Kuala Lumpur, incidentally).

The romantic plotting is so cliched that the denouement may as well have been e-mailed, and the director has fooled himself into believing that a rousing soundtrack is adequate shorthand for the mood of the flower power generation.

Okay, it may not be Shakespeare, but it's a welcome bonus, for neither Chow or Wahlberg looks out of place in crossfire that would likely leave trained military personnel shell-shocked.

Ritchie's colour-desaturated style, use of unusual background music, scattershot slang (some subtitled) and mostly tasteful black comedy give the whole film the feel of an altered state of perception.

The most worrying thing about She's All That is its message. The "ugly duckling" (specs, dungarees, art-lover) must conform (she gets a makeover and the boys notice her "bobos" for the first time) to fit in.