Bloody, shallow and oh-so-smug, Deadpool is so eager to offend that it’d almost be sweet if it wasn’t so, well, relentlessly annoying.

There are beautiful moments from David Hockney’s home-video stash in this thoughtful doc.

The art is undeniably impressive, but there’s a lot of I-did-this-before-him-without-her-help, which drags. Still, look at that: it’s massive!

Crisply photographed, thoughtfully plotted and sharply soundtracked, The Transfiguration is a solid slice of US indie horror.

Based on Kurosawa's Yojimbo, it sets a fashion in surly, laconic, supercool heroes with Eastwood's amoral gunslinger, who plays off two gangs against one another in a deadly feud.

All in all, ‘Madame Bovary’ is quite something, gradually building to a jawdropping final scene. Anyone with an interest in Chinese arthouse cinema really needs to see this.

As filmmaking, X+Y is unassuming and not entirely remarkable, but the relationships play so sweetly and memorably.

Nothing succeeds like excess, this comedy would have us believe. But the thwarted egos, rampant libidos, and starry cast - while wonderful at first - begin to look frayed around half-way through.

Some clunky coincidences and unlikely events confuse the film's mission, and it lacks the clarity and parable-like meaning of the brothers' best films.

Rather than letting the CGI do all the graft, Hardy unleashes a beautifully handcrafted army of puppets and animatronic demonic creatures. Too many, too soon, really. It’s overkill and pretty quickly you’re suffering from fiend fatigue.

If Del Toro is pitching for an audience of 12-year-old boys (and we do mean boys: this is old-school macho), he’s done a bang-up job. Still, there are times when Pacific Rim could be the work of any jobbing Hollywood director – the warmth and idiosyncracy that characterises Del Toro’s finest work, from Pan’s Labyrinth to Hellboy 2, is absent.

Overall, this is an enjoyable, compelling small-scale shocker.

Essentially, this is sci-fi with a heart, albeit one made entirely of cheese. Both director and writer sometimes seem unsure whether to pitch the tale as knockabout comedy or sentimental fable. It's to the lasting detriment of the movie that Howard opts for the latter. Resistible.

The Lovers and the Despot is compelling as a Cold War-era thriller, but it also offers a small window on life in the higher echelons of power in North Korea at that time.

By far the most compelling voices are those of the impoverished Haitian people; unfortunately, they're only heard briefly at the end. While the film's real-life twists and turns are difficult to follow, the human desperation it depicts is all too easy to grasp.

Curry’s film hints at the role of media images in determining such self-conscious behaviour on the world’s frontlines, yet misses an opportunity to take VanDyke to task.

Impeccably liberal in its orientation to 'issues' - the power and responsibilities of the press, the impact of misinformation - this avoids the excesses of Stanley Kramer-like telegraphy, only to come up looking aesthetically wet.

Writer Abi Morgan ('Shame', 'The Iron Lady') and director Sarah Gavron's ('Brick Lane') tough, raw, bleak-looking film makes the suffragettes' dilemma feel immediate and real.

Zarafa never pauses for breath, rattling from one hasty, perfunctory sequence to another.

Greater conflict (or simply more probing interviews) might have made for a more gripping movie. But what’s here will delight anyone who dreams of living free, sleeping rough and scoffing beans around the campfire.

During the 94 minutes of this delightful movie, the Muppets graduate from college, hit New York, are parted and reunited minutes before curtain-up, with Kermit saved from amnesia by a right hook from Miss Piggy.

Sleek and quite fun all the same, with SPECTRE holding the world to ransom after stealing a couple of nuclear bombs, Bond almost getting his in the villain's shark-infested swimming pool, and a cleverly choreographed underwater battle to provide the icing on the mix.

Catch Me Daddy feels authentic and informed, but wears its research lightly and prefers to thrust us into the atmosphere of the moment rather than offer too much background or tie things up neatly.

Give Northern Soul its due: this feisty, frequently amusing chronicle of one young man’s journey through the dancehalls of Lancashire nails its time and place.... A pity, then, that the story is so tiresomely familiar.

This is a whistle stop tour that leaves you wanting more.

Big Bad Wolves requires a high tolerance for pain, but its wicked humour and oblique satire rip open Israel's paranoid, militarised system like a jagged saw blade.

Sometimes you find yourself wishing for an alternative version of the film unfolding before your eyes. ‘Belle’ is a good-looking and exceedingly polite film where perhaps a more complex one with less good manners would have been better.

At least there’s plenty from Whitney herself in incredibly poignant TV interviews where she talks about her struggles with fame and addiction.