A snappy, quirky German indie that will thrill fans of early Jim Jarmusch.

Interesting material let down by the occasionally pedestrian direction.

It takes a while to get going and never outstrips its theatrical origins but gets by on great actors working through meaty scenes. See it for Streep vs Redford alone.

In stripping Jack Ryan back to basics it’s lost some sophistication, but reinvigorated an action hero who’s unlike any other on offer and who absolutely earns his second — or rather fourth — shot.

An idea that must have sounded good on paper looks a lot less smart on the screen.

An ordinary, forgettable horror film. Even the Devil deserves more than this.

A laudably even-handed examination of a highly charged subject.

Surprisingly watchable, at least by recent Vince Vaughn standards, with Chris Pratt stealing the show was the hilariously gormless lawyer.

Falling between the twin pillars of the art house and prestige period flick, 12 Years A Slave is history lesson as horror film, powerful, visceral and affecting. And after years of being great in everything, Chiwetel Ejiofor shines in a lead worthy of his immense talent.

Powerful and mesmerising, this offers an fresh approach to a tough topic.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.

It’s vivid, substantial and works hard to be worthy, but as it ticks off the milestones of a monumental life it flickers more often than it really catches fire.

As a director, this feels like Stiller’s moment. Mitty is a film that bravely rejects cynicism. In many ways, it’s the new Forrest Gump. Go with it and it is, in all senses, wonderful.

A triumph of pure cinema and wonderful visual storytelling from Chandor, who must now be considered the real deal, while Redford is sublime in what could well be the performance of his career.

Perhaps a folly and – Kikuchi aside - too deadpan to be a romp, this is still a decent, colourful samurai spectacle with a classical look (lots of symmetrical compositions) and a story which stands up under multiple retellings.

Like LaBute's best work, this tense drama is not for all tastes, but anyone game to watch two effortlessly volatile and vulnerable performers trade barbs for 83 minutes ought to give this due consideration.

Inside Llewyn Davis throbs with melancholy, hunches under heavy skies, revels in music history's unsexiest scene and unapologetically leaves you dangling. It is also beautiful, heartfelt and utterly enthralling.

The oddest thing of all about The Wolf Of Wall Street is also the most unusual for a Scorsese film: it is incredibly, incredibly funny.

An extremely entertaining, brilliantly acted, highly diverting film which — like all hustles — delivers less than it promises. Still, it’s worth being taken for the ride.

Patchy and in need of a rigorous edit, but amid all the weeds there is some ripe comedy (satire, even) for the plucking.

It's always trying to do something unusual. It has a great lead in Pegg. What it doesn't have is an ending or a clear reason what it wants to be.

Even if you think you've seen this story too often, Big Bad Wolves will surprise and enthrall. A thriller which bites deep, it has a light touch which finds humanity even in the worst horrors.

Like Saudi Arabia's "Wadjda," Burshtein's film is a groundbreaking first - the first Israeli film to be directed by a woman - and although it lacks a little of the emotional heft of Haifaa al-Mansour's work, it's a well acted and delicately told tale.

Indigestible Christmas stodge.

Some developments seriously stretch credulity and the dialogue doesn’t always ring true. But the performances — including a sinister, matronly Kerry Fox — are as enjoyable as the tawdry film noir vibe.

Middle-earth's got its mojo back. A huge improvement on the previous installment, this takes our adventurers into uncharted territory and delivers spectacle by the ton.

Despite the odd rip-roaring tune and some sturdy performances, this yuletide tale is as memorable as last year's sprouts.

Another shake-and-bake Stath special, boasting the requisite punchy-fighty action and some pleasing sleaziness from Franco and Bosworth, but it's ponderously handled by director Fleder.