A mixed return for Stillman, Damsels is so whimsically out of step it's like a time-travel comedy without the time travel. Fortunately, Gerwig and some dazzling dialogue save his blushes.

The Final Reckoning brings both the Dead Reckoning storyline and the franchise as a whole to a satisfying close. As ever, Cruise is in peak condition, front and centre amid some looney stuntwork. If only his antagonist Gabriel was a more worthy opponent.

Between a fallen king and a rising threat, Marvel’s cinematic Phase 4 ends on a tender and – mostly - triumphant high.

The tender, tragic vibe Williams tries for via our hero’s forbidden affair with aristo soprano Marie-Josephine (a brittle Samara Weaving) feels too speedily set up to be truly effective.

The shadow of subsequent events looms oppressively large, but Greg Barker’s film still speaks eloquently for diplomacy and selfless public service.

A little baggy in places with its two-hours-plus runtime, and a touch convoluted too, Smile 2 is a visually impressive sequel with solid performances, an expanding lore, and some genuinely scary moments, making it a very successful follow-up to a recent horror favorite.

As much as Oygen pulls you along in the moment, it doesn’t leave you with anything that’ll particularly linger.

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.

Loving and lavish, Kenneth Branagh’s take will please traditionalists more than revisionists, but there’s enough here to enchant both young and old.

Anyone expecting opera and opium will be disappointed. But a majestic McKellen rescues a safe script, giving us a fresh look at an icon even the most casual viewer will be (over)familar with.

Smart, literate and romantic, it's this year's (500) Days Of Summer, but with a few more shadows. Like Calvin, you'll find it hard to resist Ms Sparks.

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.

Paul Feig makes a slight gear change for a slick thriller that’s best enjoyed with a martini in hand.

There's something patronising about the way Norman Jewison portrays all these poor but cheerful Yiddish types. The choreography is clumsy, the acting caricatured, and the songs themselves painfully overblown.

Zoë Kravitz makes a phenomenal debut as director with this heightened, gripping thriller.

It offers a surreal slant on post-Fukushima Japan where aggression lurks in every scene - even the romantic ones between high-schooler Yuichi (Shôta Sometani) and his stalker classmate, Keiko (Fumi Nikaidô).

Animated with exceptional depth and beauty by co-directors Jennifer Yuh and Alessandro Carloni (and given epic new heft by Hans Zimmer in the orchestra pit), it's a rare ’toon franchise that can grow up so quickly and still giggle at its own butt jokes.

The best horror remakes are not afraid to push the source material in new directions – exhibit a) The Thing; exhibit b) The Fly – and while Watkins’ movie is nowhere near the level of those masterpieces (few are), it’s shrewd, engrossing and pleasingly nasty.

Part horror, part love story, part morality tale, Age Of Ultron is a smart superhero smackdown that raises the bar once more.

Ends up an impressive addiction drama. Stay with it and it’ll stay with you.

It’s a straightforward morality story at heart, reminiscent at times of A Bronx Tale and with a sagacious neighbourhood DJ (played, rather fabulously, by ex-footballer Ian Wright) cut from the same cloth as Do the Right Thing’s Mister Señor Love Daddy. Yet it is such a stunningly and meticulously designed film that it continually captivates.

The doc-flavoured approach lends both urgency and tedium, while the blend of miniatures, stop-motion and CGI references the various looks of his 63-year history.

Pitched perfectly between microbudget miracle "Once" and all-star Aegean romp "Mamma Mia!" What these songs lack in recognition they make up for in feelgood factor.

The Pass is narratively simplistic but psychologically complex.

This is a perceptive, warm-hearted work, anchored by Knoller's impressively less-is-more performance.

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.

Though more forgiving than previous Solondz films, Dark Horse is too slight to herald a wholesale change of direction. Yet it's still worth catching, if only for Walken's terrible toupee.

Blow for blow Creed 2 is a closer match for its heavyweight predecessors than anyone dared hope. Transparently formulaic at times – but boy will it get your blood pumping.