This is a simple, sweet tale about the basic pleasures of home and hearth, rendered unflashily in a delightful style of hand-drawn animation that employs a beautiful array of warm pastel colours.

Overall, excitement levels are moderate. But even if the film can’t match Hollywood for spectacle, there’s a sobering sense of the painful sacrifices and compromises facing those who toil in secret to keep us safe from harm.

When it’s playing for laughs, ‘A Royal Night Out’ is harmless good fun.

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.

This is a solid take on the material, but it could have done with a little less narrative incident and a little more cinematic sparkle.

It’s a film with the texture and truth of life, and at its heart is a beautiful performance by Cliff Curtis, who never in a million years will be nominated for an Oscar, but deserves one.

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.

The list of co-stars – Jane Fonda, Octavia Spencer, Aaron Paul – is so impressive that it’s hard to know what attracted everyone to such a soapy, cloying script.

The film works best when it explores the impact of FGM.... But the film is also trying to be a rousing, celebratory sports story, as the Warriors jet off to London to take part in a cricket tournament. And this is less successful.

David Sington (In the Shadow of the Moon) shows extreme confidence in his subject by revealing the deeper truth in fragments, essentially allowing Nick to deliver a monologue or one man show, drawing us deeper and deeper into his story.

The largely non-professional cast are as authentic as the craggy, unforgiving surroundings, and the way the film balances the simplicity of its central rite of passage with a broader outlook on a people caught in the shifting sands of time is a tribute to the filmmakers’ clarity of vision. A truly memorable first feature.

Skyfall is a highly distinctive Bond movie. It has some stunning visual touches.... Also, it mostly manages to convince us that there’s something at stake by giving a hint of Bond’s emotional life beyond this story.

This might be the most downbeat blockbuster in memory, a film that starts out pitiless and goes downhill from there, save for a fleeting glimmer of hope in the final moments. It’s a bold statement about the unforgiving nature of war, unashamedly political in its motives and quietly devastating in its emotional effect.

Even just watching this impressive documentary, you feel a little unhinged by the scale of suffering.

It’s a struggle to glean many positives from this ugly, superficial offering, which gestures towards feminist empowerment while heaping mental and physical hurt on every one of its female characters.

It’s a dour, at times glacial film that perhaps takes itself just a little too seriously, but it’s also grimly convincing and, in a remarkable final scene, shockingly effective.

It’s a wild, at times exhilarating watch – but an exhausting one.

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

It’s just a shame the film is slightly ragged, with a tendency to preach when there’s more than enough drama to get the point across. Still, it’s an important story, told with commitment.

The humour lacks the zingy surprise that Pixar or Disney might have brought to it.

It’s not all doom, gloom and personal disasters — the film also offers lucid insights on the links between the man and his movies.

This is a forceful, initially uplifting, ultimately sobering illustration of how much protest matters, how far those in power will go to stifle it, and how ugly and criminal those efforts look in hindsight.

Timoner refuses to run fully with Brand’s elevated idea of himself, preferring to offer glimpses of a vulnerability and ruthlessness behind the clownish bluster.

This is a relentlessly unengaging affair, its derivative and logic-deficient script matched by flat direction and fussy, unconvincing CGI.

All three actors work hard... and when the melodrama hits fever pitch, Crimson Peak lurches into life. But overall this lacks weight and intensity: a Brontë-esque bauble smeared in twenty-first-century slickness.

SuperBob is part-comic book spoof, part-superhero movie in its own right, and it comes with plenty of laughs. But while it succeeds in sending up superhero tropes, it fails to avoid romcom clichés, and the love interest storyline is disappointingly predictable.

The story feels only half told. The team’s defeats are glossed over, it’s all peak and no trough.

Loushy’s project can feel repetitive, a bit too in awe of his admittedly significant sources. Perhaps most striking are their prophecies that this was only the beginning of an intractable conflict that could only get worse, not better.