This risible hokum cashes in on TV's The X Files and invasion mania, but what it lacks in sophistication (everything), it partly makes up for in sheer gall.

This is an unapologetically fluffy film that never digs deep into its characters’ lives. Its pleasures are patchy. Keaton offers an endearing performance, even if her chemistry with Gleeson (not on top form) is weirdly lacking.

Fleischer handles a heavy script and most of the acting like no one should handle a melon; but he really soars into competence at moments of tension, car chases, and general cinematic escapism.

If it's all a little too crowded with characters, Branagh’s pacy direction keeps the story zip along to a conclusion that’s tense even if you remember whodunnit.

Its repetitive qualities are beyond reproach. Every bit as amiable and disposable as its predecessor, it recycles everything from slapstick gags to its own voice cast.

Anchorman 2: The Legend Continues is not the disaster some feared it might be, but neither is it the endlessly quotable, deliciously idiotic follow-on so many of us were optimistically anticipating.

It’s formulaic, but also largely entertaining, quite touching, occasionally amusing and competently animated.

An unbalanced but never less than entertaining film, enthralling and deflating in roughly equal measure, and studded with moments of true, old-school glory.

Brad Pitt pulls along this gutsy, old-fashioned World War II epic by the sheer brute force of his charisma.

Some prior interest in Berger would help, but even newcomers should find this an infectious portrait of independent thought and living.

Stick with it and writer/director Alice Rohrwacher’s first feature reveals another side: taking a small town as a microcosm of Berlusconi’s something-rotten-at-the-core Italy.

Rogue Nation is an uneven film.

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.

Ultimately it's left to Mad Max wizard Miller to steal the show with an extraordinary remake of Richard Matheson's story about an airline passenger who spies a demon noshing the starboard engine.

As a self-conscious exercise in kitsch graverobbing, ‘Viva’ succeeds through a combination of cultural nous and sheer aesthetic audacity.

Perhaps inevitably, the film as a whole doesn't stack up to its central performances.

Sir Ian McKellen is a pleasure to watch as an elderly Sherlock Holmes, though the drama isn't as compelling as it might have been.

There are sequences in Doctor Strange that could burn the top layer off your eyeballs, crammed as they are with some of the most unashamedly drug-inspired imagery since the ‘The Simpsons’ episode where Homer takes peyote. But problems arise when Doctor Strange tries to tackle the everyday stuff, like telling a half-decent story.

It’s a winning yarn, but Osmond has to crack the whip to get it over the finishing line.

It takes a while to find its focus – and takes itself just a little too seriously – but as low-budget Ozploitation goes, it’s snappy and effective.

A solid watch for gore fans.

Perez has a field day as Muriel, injecting a welcome note of good old-fashioned greed into what is otherwise a relentlessly edifying story.

There’s something sloppy and sluggish about ‘Irrational Man’, even by Allen’s patchy standards.

It’s hardly high art, but for a cheapjack homegrown action flick this is surprisingly solid.

It’s an important story, of course, but only mildly engaging as cinema.

The ever-present air of madcap, goofball insanity carries it through. A seriously guilty pleasure.

An old-fashioned sequel which plumbs depths and hits heights, in which the lovable Rocky Balboa gets another crack at the world heavyweight championship.

It’s all a bit heavy-handed at times, but this is a sweet story honestly told.