Washington and Wahlberg are an effective double act in an intermittently exciting thriller with more twists than it needs. We’d love to see them partnered again, though perhaps as characters.

Funny and tense, rather than hilarious and terrifying, You’re Next doesn’t rip up the rulebook but it’s definitely read it. If all horror comedies were this good we’d be laughing – and squirming.

Sometimes bad, never boring and, at the last, completely bonkers, it’s proof at least that you can freeze cheese.

Al-Mansour carefully dodges easy uplift, but her message of hope to future generations of Saudi women is clear.

Neatly juxtaposes the beauty of the landscape with the enmities it engenders.

Laying bare his characters, Seidl uncovers the doubt beneath the armour of religious belief.

A fun if sporadically schizoid return to one of the brighter, brasher comic-bookers of recent years.

Little ones will love the bright action scenes, but the lack of wit and humanity that makes exec producer John Lasseter’s best work so special will leave grown-ups feeling frustratingly grounded.

The final showdown whisks up the requisite excitement, but the open-ended coda feels like an optimistic throw of the dice from the franchise showing meagre signs of Harry Potter longevity.

This perfectly alright actioner will entertain newcomers, while leaving Blomkamp fans in a holding pattern until his next project.

It’s the same sappy drivel as before.

It’s handsomely lensed, and when Cage and Cusack finally go nose-to-nose, the fur does fly.

Returning screenwriters Jon and Erich Hoeber have penned a surplus of minor melees and major set-pieces.

Ultimately, it’s not as awful as "Wild Wild West." But we’ll hazard a guess that Pirates 5 can’t come quick enough for Bruckheimer or Depp.

Smartly executed, endlessly quotable and machine-gun quick, this is one of the funniest films of 2013. Accessible for Partridge novices and hugely rewarding for the faithful.

If Miyazaki Jr elevates the material, it’s through style. Dripping with watercolour warmth, the rapturous images convey how a country’s efforts to right itself resonate with the young.

Following the buddy-cop handbook to the letter, The Heat is derivative stuff, but McCarthy gives it the kick it needs to keep rolling along.

Can’t decide if it’s a broad farce or a poignant portrait. Small wonder then, that it falls short on both counts, failing to earn either Bridesmaids-sized laughs or nods of recognition.

Charming, poignant and often very funny, Baumbach and Gerwig’s latest collaboration is a joyous portrait of an unformed personality that should strike chords of recognition in all who watch it.

Like a more obvious underwater twist on Herzog’s "Grizzly Man," Blackfish presents a persuasive, passionate argument: wild nature’s right to freedom demands respect, cock and all.

It’s no "Drive," and even hardcore fans will struggle to love a film that’s as mad as a bag of prawn crackers, but as an exercise in style, it has many moments to savour.

It’s a step up from the garbled silliness of Wolverine’s first solo outing. Unlike Origins, the storytelling is more sharply focused here, ignited by flashes of stylised superheroism.

It’s a crisp, cold little thriller with a real sense of the noose tightening around otherwise unremarkable lives.

Believably charts a girl’s coming of age but is eventually capsized by lurid melodrama.

Pixar falls back on the tried and tested in an entertaining caper that will be a surefire kid pleaser this summer. Old favourites are always welcome, but it would have been nice to see some more new ideas too.

The armageddon-through-beer-goggles approach brings the chuckles, but The World’s End stands up as a great example of the genre it ribs. Nostalgic, bittersweet and very, very funny.

With its slow tracking shots, complete disregard for edited narrative and endless baaing and whistling, it’ll either bore you to tears or hypnotise you with its weird Herzogian beauty.

Ben Wheatley’s strangest movie yet: mysticism, mystification and magic mushrooms in a English Civil War setting. Often confusing, occasionally infuriating – but audaciously original.

Great beginning, patchy middle, bum-note ending. Like the Roses’ 1980s-90s lifespan, Meadows’ loving report on a “live resurrection” is indeed alive and passionate, until too many gaps render it less than godlike.

A huge, CGI-heavy popcorner that still feels personal. Come for the epic monster-on-mecha showdowns, stay for the likeable humans.

By the time it’s over, you’ll either be heading for the beach or vowing never to go in the water again.

Sophie Lellouche’s slick debut is chock-full of Woody-com quotes and references, yet it remains an inconsequential, undernourished trifle that does sod-all with its potential.

While sympathetic to their plight, the directors prove alert to the story’s wider impact, speaking to proud parents and outraged opponents alike.

Vaughn and Wilson. eight years on from "Wedding Crashers," the pair successfully rekindle their irascible shtick.

Ocean’s Eleven meets The Prestige? Not quite. Starts well, ends in a heap, but in between there’s just enough splash and flash to distract from the lack of substance

The sci-fi premise seems preposterous, but get beyond that and Gedeck’s predicament absorbs.

The minions give good mayhem and the twig-armed animation’s lovely. Despite the coolest submarine-car since Bond’s Lotus Esprit, though, Despicable Me 2 is light on gadgets – and surprises, too.

A more-than-worthy, expectations-exceeding chapter in one of modern cinema’s finest love stories. As honest, convincing, funny, intimate and natural as its predecessors.

Exuberant when it’s in the ascendence but empty on the way back down, this well-crafted cock and balls story is – for the most part – filthy good fun.

Most ‘one crazy night’ movies (from After Hours to Superbad) thrive on a sense of escalation, but Stand Up Guys only seems to lower the stakes as it stumbles tediously on.

Another Brit hit, plus Batmanglij is beginning to show dash as director. The duo make a tight fist of hot topicality and high tension from an ideas-packed genre piece.

Veteran French actor Bouquet brings a lifetime of experience to his arthritic old master, though, while the frequently unclad Theret captivates and exasperates in equal measure.

Amazing stories. Heart- tweaking, brain-teasing and hugely enjoyable, Polley’s tangled memoir confirms her as an unflinching anatomist of secrets and lies.

Sharp and shiny as the jewellery its twisted teens pilfer, Coppola’s cautionary tale eschews action for angsting about celeb- obsessed culture. Worth it just to hear Watson snarl “I wanna ROB!”

As a celebrity’s-eye-view apocalypse movie, This Is The End delivers huge guffaws and large-scale carnage with enough gusto to mask the indulgences. You’ll never look at Michael Cera in the same way again.

A bracing attempt to bring the legend back into contention that successfully separates itself from other Super-movies but misses some of their warmth and charm. But given the craft and class, this could be the start of something special

A bright, breezy Irish monster mash boasting gorgeous cinematography, appealing performances and great SFX, even if it’s a little slight for can’t-miss status.

These truly are dark and terrible times if we are forced to accept the elitist problems of an Ivy League college admissions officer as shameless fodder for a romcom.

A breezy but heartfelt Shakespear update that should put a smile on the faces of Whedon fans, Bard worshippers and anyone in the mood for a sharp, sassy romance.

Though it covers similar thematic ground to Laurent Cantet’s haiti-set "Heading South," Seidl’s gruelling film proves his knack for leaving viewers emotionally discomfited.

The ending may be a little too tidy and obvious, but this is a sweet little study of the right royal mess people can make of relationships when they let their own neuroses take over, and a warm tribute to overcoming them.

The film strips away ideas of heroism mercilessly.

Jaden Smith takes centre stage in a futuristic rites of passager that plays like an extended episode of The Twilight Zone. Although "Oblivion" narrowly remains this summer’s better ruined-Earth actioner.

Choosing quantity over quality, intensity over tension and big-screen thrills over low-fi shocks – this is probably what the zombie apocalypse will actually look like.

Sweeping landscape shots and the reliable presence of Sergi López, here playing a scarred private investigator, can’t distract from the clichés of a particularly dim-witted script.

James DeMonaco’s blood-splattered thriller begins well before expiring slowly from multiple improbabilities.

A timely, gut-wrenching but ultimately hopeful work.

You’re left marvelling at London’s capacity for renewal and reinvention.

Katharine Isabelle is phenomenal in one of the most original and politically engaged horrors of recent years, even if the second half isn’t a patch on the first.

Kneel before shannon. His primal, powerhouse turn drives this criminal biopic. the film won’t win any prizes for originality, but its star proves he’s a real man of steel.

Ashley Bell’s nuanced performance and a surprisingly pyrotechnic finale liven up a gloomy sequel. Title’s still nonsense, mind.

The moments where you feel the cast are off-script and riffing are fun if not actually funny, but the most horrific thing on offer here is misogyny.

Depending on taste, you’ll be left either barfing or laughing.

An unabashed crowd-pleaser, Hugh Hartford’s table-top portrait avoids patronising its aged subjects, bouncing between sweetly satirical and sincerely moving. Given the theme, it’s only a shame it doesn’t last a bit longer.

Less abrasive than Part II, but lacking any of Part I's freshness, this is the most lacklustre return-to-Vegas, trilogy-closing caper since "Ocean's Thirteen."

By no means an epic fail, but lacking the spry wit of more adult-friendly animations, this is big on action and small on originality. Gorgeous visuals aside, Epic is resolutely kiddie fare.

The Big Wedding isn’t telling a story so much as selling a lifestyle – one that, rather like Heigl’s morning sickness, makes you want to vomit.

Well-crafted, well-intentioned and well, just a tad dull.

Gatsby fans will be unoffended yet untransported, but soundtracks will sell, DiCaprio will be on bedroom walls again and new readers may discover the book - which is no bad thing.

It’s not as epic as "March Of The Penguins," or as stunning as the BBC’s usual slo-mo nature porn – but with nary an animated tap dance in sight, it’s still king of the 3D penguins.

It’s actually a ruthlessly plausible thriller, stripped clean of music and melodrama, and all the more engrossing for it.

In a film with obvious ambition, though, it’s a shame that it resorts to formula so quickly.

Another silly but sturdy instalment that’s as well-oiled as The Rock’s muscles. If the ‘Letty in London’ story doesn’t exactly have that new-car smell, this is still the fastest soap opera on wheels.

Jordan’s apparent resolve to make an anti-Twilight unfortunately results in a movie that, if not for a fistful of moments of shock, style and excess, would be as drained of colour and tension as Ronan’s victims are of hemoglobin.

Strickland’s nuanced, atmospheric, ambiguous movie transcends genre.

Writer/director Gilles Legrand’s study of fraught father/son relationships builds the tension, helped by a fine cast...while the vineyards of Bordeaux offer a deceptively serene backdrop.

Full of fizz, filth and fun, I’m So Excited! is like an ’80s retro-blast. Its scattershot comedy may not impress latecomers to Almodóvar’s career, but old-school fans will love it.

It’s to director Chris Menaul’s credit that his lack of big-screen experience isn’t evident, but the same can’t be said for his cast who are, by and large, too stiff to charm.

Everybody does indeed have a plan in Ana Piterbarg’s ponderous Argentine noir – problem is, they’re all terrible.

More accessible than "Take Shelter" but not as powerful, Mud boasts stunning photography, a mesmerising lead and a strong evocation of Americana. McConaughey’s gold run continues…

Mostly, this is fantastic fun: a two-hours-plus blockbuster that doesn’t bog down in exposition or sag in the middle. There are reversals and rug-pulls galore, most of them executed with whiplash skill.

Funny, twisty and thrilling, this is shellhead’s most entertaining solo flight to date. It’s also an impressive pace-setter for this summer’s barrage of big movies.

An impressive study of guilt, responsibility and the bad things that happen to good people.

It might sound like a lazy idea for an iPhone game but a few fresh jokes and lashings of creative gore help it stand out from the shuffling crowd.

Writer/director Trapero arguably crams too much into the film’s running time, but potent turns and Michael Nyman’s yearning score are among the compensations.

Occasionally potent but mostly risible, this tale of the occult sees Rob Zombie cast a weak spell. Disappointing.

Dolan never flinches across this bold, brassy piece; it’s confidently directed, stylishly shot, passionately acted and evocatively scored.

Closer to Eli Roth than Sam Raimi, this brutal retread combines J-horror atmospherics with torture-porn kills. It’s more evisceration than invention but at least has the courage of its bloody-minded convictions.

That every jibe lands woefully wide is no surprise, though we’ll give leading lady Ashley Tisdale credit for giving her all to a film that mercifully won’t be around long enough to do any lasting damage to her post-High School Musical career.

Vinterberg keeps us guessing right up to and after an end shot that suggests how tough some viral rumours are to shake off.

Utterly assured, breathtakingly executed and riotously funny, this is a delight.

Some metaphors score and some miss, but this is leap-of-faith cinema: the rewards entail some risks.

An expertly calibrated drama confirming Marsh’s status as one of Britain’s most formidable filmmakers.

It isn’t a reboot or reimagining, refreshingly, but Oblivion plays like a stylised remix of superior sci-fi ground-breakers. Cruise and Kosinski: they might be an effective team, but pioneers they’re not.

It might not sound much on paper, but it’s all in the delivery, the appealing lead performances combining with Wheatley's sudden tonal shifts to produce a film that’s funny, sinister and strangely moving.

Steven Spielberg famously retained his childhood sense of wonder. On this evidence, Meyer has maintained a nine-year-old's notion of titillating romance.

It's stiff upper lips versus ruthless efficiency in Petter Naess’ modest WW2 drama.

Eckhart makes a decent Damon stand-in, but there’s nothing here than hasn’t been done (better) before.