Delivers as a Friday-night actioner, with some smart moves and good banter. Smith and Lawrence are on crackerjack form.

A primitive concept (cavemen play football) generates unsophisticated laughs in an animated caper that’s fun but rather second division by Aardman standards.

Mostly, it’s a study of an analogue ghost turned digital star; yet because Maloof is vested in building Maier’s reputation, the film leaves some uncomfortable questions about the ethics of posthumous fame.

It's a must see for fans of roar footage.

Occasionally rambling, it’s kept afloat by an eclectic soundtrack and Christopher Doyle’s striking urban lensing.

It’s not the sort of family film you’ll wax lyrical about, but there’s enough colorful, chaotic, kid-friendly fun to amply entertain.

Comprising archive footage and first-hand accounts, Claire Ferguson’s film feels vital in sharing harrowing stories of life in concentration camps.

The story is predictable, but Simmons’ tighty whities and Delpy’s fish impressions compensate.

Ending up in a CG mess that tries to say something about karma, Bullet Train isn’t the Pulp Fiction on rails it thinks it is. What it is, though, is a whole dollop of fun. Buoyed by Leitch’s expert eye for action as well as one of the most hilariously disposable A-list casts around, the film has Friday night written all over it.

Much more fun than Coming 2 America. Don’t be surprised to see a fifth film greenlit.

Bob has spawned multiple books, but what works on the page seems slight on screen. That’s not to say it isn’t life-affirming, it’s just not quite the cat’s pyjamas.

Fun enough, but not the lightning-bolt-to-the-heart update we hoped for. For a far superior update of the Frankenstein myth, read Stephen King’s Revival.

[A] memorable, conventional account of a true maverick.

Prisoners of the Ghostland exists entirely outside the norms and conventions of moviemaking. Really there’s only one word to describe it: nuts.

Blurring the fiction/documentary lines (it features non-professional actors), it’s spiced with eccentricities.

Reichardt and Williams reunite to muted effect to create a portrait of an artist that feels a little unfinished.

Francesca Gregorini’s film stands or falls on a central mystery as silly as it is surreal. Fair play to Gregorini, though, for avoiding the temptation to deliver an outré slice of suburban Gothic; by framing events as melodrama, she can better examine themes of grief and motherhood.

For dance fans this is a fascinating study of the time, effort and logistics that go into a big production.

The film’s cryptic style obscures insight; just as the condition provides a scapegoat for neglecting Abby’s motives, so it prevents Passon from developing a sustained dramatic network. Satisfaction is fleeting.

An action vehicle that, in trying to do it all, does a little too much; Johnson and Blunt keep it afloat.

Jalil Lespert’s film treats its hero with a high seriousness that not even Niney’s uncanny portrayal of YSL’s artistry and mental fragility can justify.

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's slight, sure, and there's a better, less-glossy film buried in the material, but warm performances redeem Crowe's agreeable return.

A decent adaptation of McEwan’s excellent novella. Forget Fifty Shades – this is sex to make your cheeks blush.

Logan Lerman delivers a career-making turn in this sweet, sincere film. It might not be a massive hit, but it will certainly ease a few paths through the awkwardness of adolescence.

A brutal fusion of angst and action, this mini-epic gives the sword-and-sorcery genre a bleak, brusque new life. Watch it for some terrific limbchopping and a mighty turn by James Purefoy.

Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.

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.