An interesting introduction to (or reminder of) Amanda Knox’s story following the murder of her flatmate Meredith Kercher, but it doesn’t have the depth of other recent true-crime investigations.

It’s not the worst of the trilogy, but this is less for fans of thrillers and more for people who are pining after last year’s holiday to Florence.

It's the thriller aspect that most lets the film down, failing to truly engage or offer enough plausible red herrings to send your mind whirring through different theories as to what could have happened. The twists rarely, if ever, have the impact that were intended.

A thinking person’s Bad Boys, this off-kilter indie crime comedy introduces two deliriously warped lawmen to the screen. Here’s to a Cuba-invading sequel.

Too long, arduous, lecturey and patience-testing for even the all-new Matthew McConaughey to rescue. Director Ross is apparently so swamped by a sense of historical righteousness he hasn’t noticed he’s smothered a decent story.

A quality ghost story with an unusual backdrop and great performances.

The premise sounds like an off-Broadway play gone wrong. Far from it — this is extraordinary, vital, and fuelled by great performances.

Even if you didn’t know what comes next, this story of the first days of the Obamas would still seduce as a sweet, smart romance.

While it's neither as dark, funny nor peculiar as you’d expect from Tim Burton, there’s still much here to admire.

Following up Love Is Strange with another slice of urban bohemia, Sachs’ latest is another gem that's full of heart and warmth.

The best zombie-ish apocalypse in years. Sennia Nanua is a major discovery, but it’s the dense social commentary and moral dilemmas that will haunt you.

A gripping if occasionally overwrought drama radiated by a standout turn from Seydoux.

An efficient and no-nonsense depiction of the worst disaster in US oil drilling history, buoyed by excellent performances.

Slick but forgettable, Fuqua’s suicide squad is a macho posse movie that could use a jab of fun. It’s The Magnificent Seven, but the “magnificent” is silent.

A bit "Up," a bit "Moonrise Kingdom," a bit "Midnight Run," even… Taika Waititi’s latest is an oddball treat of a mismatched-buddy pursuit move.

Effectively scary and occasionally inventive, Blair Witch is a solid genre film both helped and hindered by its franchise’s place in cinematic history.

Often gripping, and elevated by Cranston’s superb central performance. But it’s hard not to feel like we’ve seen this before, often and done better.

Though the story occasionally stretches credibility, the warmth and wit so reminiscent of the original Bridget Jones's Diary propels you along, being due in large part to the return of one woman: director Sharon Maguire. You feel her filthy, funny thumbprints pressed on almost every scene.

It sounded like the dumbest movie of all time, but it’s actually smart, subversive and packed with famous voices saying wonderfully unspeakable things. In fact, it’s a banger.

Part fever-dream, part supernatural thriller and not entirely successful as either, Louis Drax is nonetheless watchable, bolstered by provocative themes.

It’s well designed and shot, but in service of a story that never coalesces into something intelligent or compelling.

Taut, tense and teasing, this fascinating exercise in screen storytelling keeps viewers guessing whether the prime suspect might just be a victim.

A compelling and moving interpretation of a largely forgotten moment in European history.

Taut, tense and burnished by Jeff Bridges at his best. This is a deceptively simple tale of Texan cops and robbers that drags the Old West into the modern age.

A bloody-knuckled fightfest, back-dropped by the beautiful Welsh countryside, this defies its budget to bring a little epic to Viking Britain.

Buoyed by riveting lead performances, and driven by a compelling real-life story, this is proof that Phillips can handle grown-up material. All without a naked Ken Jeong.

An absolute blast, with a frenetic strike-rate and songs that will worm their way into your ears for days. Like Conner, this comedy’s for real.

A fiercely original, pleasantly unpredictable character piece. This is a gang of outsiders with something valuable to say about the world we live in.