This is the film Brian Wilson’s talent deserves: original, smart and affecting.

While beautiful, early scenes of shocking violence give way to philosophising and gauche symbolism.

If director Chuck Workman maps a familiar rise and fall of rule-breaking brilliance it is vindicated by the great raconteur and in-depth praise from an impressive roster.

A vibrant, haunting documentary, and a poignant tribute to a free spirit.

Director Alan Taylor handles the big action adeptly as he did in Thor The Dark World, but the script is an ever-decreasing cycle of tool-ups, chase sequences and daft monologues.

With Soderbergh now only on cinematography duties, this one takes all of the original’s surface — chiefly the hip gyrations — and none of the substance, interesting character arcs or charms.

The filmmaking is exemplary but most impressive of all is the tone that mixes comedy, melodrama and darkness.

Farty, burpy, fall-y over fun tied to a pretty inconsequential plot. Your kids will explode with joy.

Excruciatingly hilarious and hilariously excruciating. The merkin scene will live with you forever.

Messy and unlikeable.

Peter Bogdanovich's attempt to update the screwball of the Golden Age lacks the requisite elegance, wit and charm.

An entertaining and compelling story about music’s unsung heroes.

Roth and Reeves locks us in for an increasingly terrifying thrillride.

Maclean has made a Western of such confident ease that it’s hard to believe this is the director’s first feature film.

The bastard offspring of a charmless romcom and a toothless political satire.

However contrived this tenth Sparks-to-screen becomes, the emotions and chemistry outweigh the bull.

Neither a Medellin-style disaster nor an Aquaman-sized hit, this pays decent fan service but an Ari-centric spinoff might have been the smarter move.

Jurassic World is fresh and thrilling, and while it often tips its hat to the original, it’s not a slavish copy, introducing more than enough new wrinkles into the prehistoric playbook to launch a new wave of sequels.

Triebel is an outstanding presence in this slow-burning thriller, which continues to smoulder long after the credits roll.

Once again combining a sense of genuine dread with a mischievous vein of humour, Insidious Chapter 3 successfully closes the trilogy with its beginning.

Less vibrant than the original, but equally thoughtful and funny.

Ultimately, this has the feel of a lazy literary adaptation of a half-remembered novel.

The supporting cast is a kick. Law gets to send up the Bond role, something he could very well have played in his younger days; Allison Janney fills her boots as the angry head of the agency and Statham, frankly, should only ever play this role for the rest of his life.

Exceptional, human filmmaking.

For all the charisma of its hero and villain, it falls down on its failure to resist cliché.

Neatly balances a folkloric coming-of-age tale with violent action thrills.

A Hugely, irresistibly enjoyable, with star chemistry to spare, genuine laughs and tears, and the bonus of apt Lennon songs on the soundtrack.

If it could decide whether it was a cute romcom or a dirty one, Man Up would be a real gem, but as charming as it is, it falls between two stools and never manages to, ahem, Man Up.