Whether Rossi knows it or not, this is one of the most compelling discussions of appropriation and the ignorance of the fashion world in ages.

Phantom Boy is frequently beautiful to look at, but the cops-and-robbers angle feels tired and the characters are thinly sketched.

Respect is due to Joe Johnston and his screenwriters for not only fashioning a nifty, highly entertaining slice of pulpy comic-book action, but for making this most divisive of costumed crusaders universally relatable.

It’s all unexpectedly uninvolving.

There are some gorgeous comic touches.

Breathlessly paced and surreally funny, ‘The Boxtrolls’ fizzes with visual invention and wild slapstick. But the grotesquerie is overbearing.

Bale is as good as it gets, Harrelson shows us why he is Hollywood’s favourite psycho and Willem Dafoe is terrific as a sleazy drug dealer. The rest of the film is without a bat squeak of authenticity.

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

It’s slightly frustrating that Winslet’s character Alex is nearly always the one who needs looking after, but the chemistry between them is good, the suspense sufficient and the ending gives you a gentle tug on the heartstrings.

Neither an anti-war tract nor a jingoistic rallying cry, the brutal but humane Lone Survivor instead registers as a howl of despair for so many young men and women lost in war.

Cox is rudely magnificent, capturing not just the wilfulness of the man but the nagging self-doubt at his inner core. But the film is just too bloodless to be fully convincing.

[An] informative documentary.

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!

When it puts down its copy of ‘Political Philosophy for Dummies’ and focuses on character and action, Tomorrowland is a blast.

It’s Bulger whose grim appearance and even grimmer behaviour ‘Black Mass’ indulges. But it’s the quieter, more complicated Connolly who offers the film’s subtler pleasures.

Momentum builds, and come the '70s, with budding film-maker Gigi and and his jealous brother Giancarlo now free-living students, their accumulation of petty slights and betrayals becomes genuinely compelling.

Kevin Macdonald’s slightly drab adaptation of Meg Rosoff’s popular teen novel would be nothing without Saoirse Ronan.

Director James Wan has his method down. The scares are effective and the camerawork is superb, all lurking long shots and short sharp shocks. Wan is fully aware of the austerity-era parallels in his story, and the period detail is surprisingly authentic.... But there’s little here we haven’t seen before.

Yet another quirky crime comedy, but on its own terms entertaining enough, with a distinctively sharp take on masculine behaviour and a surprising amount of the Bard.

It ends up as a sweet-enough movie, and one that’s full of joy and invention – but also one that feels like a lot of effort has been put into serving a tale that maybe doesn’t fully deserve it.

It's to Ozon's credit that he never serves up easy answers.

Entertaining but never quite thrilling, this actually feels like the second film in a franchise, coasting along, but saving the best bits for the next episode.

It’s all done with care and authentic Japanese locations, and is engrossing for anyone with an interest in the subject. But there’s scant drama as proceedings plod their way towards mutual understanding.

The film’s Groundhog Day-meets-Independence Day plot is actually pretty genius.

The direction, by a former stuntman, concentrates on the action and happily leaves everyone to their own devices, with almost nothing to do. Field shows what natural acting is all about, and Reynolds' send-ups of himself are, despite repetition, becoming more likeable. Here his kidding around is exactly in tune with this fast-moving but essentially lazy vehicle.

Demange is a strong storyteller and masks the script’s tendency to nod to every opinion and social division by offering a masterclass in tension as soon as his dramatic bomb starts ticking.

Story aside, this is about the gags, songs and then more gags. On the upside, the jokes are great: the usual jolly mix of character humour, situation comedy, farce, satire and wordplay.

Liman mines the story for familiar but fun comedy...though it never reaches the comedic heights of rise-and-fall classics such as Goodfellas or The Wolf of Wall Street.