It's scatty, scrappy and thoroughly OTT, but then that's like the characters themselves.

Not so much a ripping yarn, more of a dripping yarn, Yates’ reinterpretation of the Lord Of The Jungle is a big disappointment.

It’s an impressively starry cast, but sadly, this lacks the charm, wit and, yes, magic of the original. You’ll like it, not a lot.

Witty and moving, this is a low-budget Brit triumph that marks its director as a talent to watch.

As spectacular as you’d hope from a sequel to the 1996 planet-toaster, and as amusingly cheesy. You’ll enjoy yourself enough that you won’t even miss Will Smith.

Grotesque rather than scary and severely underplotted – but certainly strong meat.

You have to be in the right mood for it, but this is one of the season’s finest films.

Pixar sequel-phobes be damned — this is a dazzling and technically impressive return to form that delivers a similar high to Finding Nemo without feeling like a retread.

An action comedy without any action or comedy – not even The Rock’s charisma and enthusiasm can save this dud.

A perfectly cast comedy of manners that couches complex emotional questions in joyous farce and continues Gerwig’s reign as the undisputed Queen Of Quirk.

The Neon Demon pulls off the unique feat of being both boring and bravura all at once. Like the world it depicts, it’s a feast for the eyes but little else.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

An affable adventure with a strong voice cast. What it lacks in originality, it claws back with strong visual gags and a witty script.

There’s not a lot of consequence to this bizarre meeting, or really the film, but as a character study of two men alone at the top, it’s both very funny and quietly astute.

It’s tastefully shot and Crowe commits to the horrors of Jake’s illness (his seizures are upsetting) but the writing lacks depth, the character psychology is dime-store Freud and the performances are variable.

A lesser entry in the LeCarré Cinematic Universe, though Damian Lewis and Stellan Skarsgård rescue it from complete blandness.

Odd-couple chemistry and a dark underbelly keep this Danish noir adaptation compelling.

Uncompromisingly authentic, impeccably played and quietly compelling.

Though inspired by real-life journals, Guerra’s haunting and beautifully shot film transports us into the realm of the mystical and surreal.

Fitfully funny but failing to really build to much of anything, The Boss is mostly a bust. Even its main character would have a hard time buying it.

Michael Moore proves that in six years between films he’s lost none of his power as a popular polemicist, and while the overall structure of his argument here is flimsy, the details he reveals have impact, suggesting a fair and just society is not an unattainable Utopia.

Cage and Wood make a hugely enjoyable double act (has True Detective season three been cast yet?) in this deceptively dark thriller with comic undertones, arguably sunk by a seismic tonal shift that not only wipes the smile off your face, but leaves a bad taste in the mouth. Tune into its offbeat frequency, however, and there is much to enjoy.

The funniest, most deliciously venomous Jane Austen movie ever made, and conclusive proof that, a) Kate Beckinsale has been seriously undervalued by the movies and, b) Whit Stillman is a major, distinctive talent.

Quick on its wits and fast with its fists, this is Black firmly back doing what he does best. And nobody out there does it better.

Considerably better than its predecessor, the central four may give it their all but the people behind this franchise sadly don’t seem all that interested in their crime-fighting, pizza-eating heroes.

The ambition is laudible, but it's to little end. At once empty and impenetrable, this brings to mind a mix of John Carter and Dungeons And Dragons, regrettably in both themes and level of enjoyment.

An adaptation of the Dave Eggers novel that struggles to make itself stand out, content instead to coast by on gentle comedy and Hanks’ charm. Pleasant but ultimately forgettable.

A fast-paced, entertaining, if somewhat on-the-nose mélange of thriller, satire, and drama, this is Jodie Foster’s best movie as a director. And we’d happily watch any TV show George Clooney wants to host.