Engagingly off-centre, like Charlie Kaufman taking down Quentin Tarantino, this sunbaked shaggy-dog story is a place-holder film for McDonagh, and often closer to chaos than it is to genius.

The restlessness of the camerawork may drive you to distraction, but director/co-writer Calin Peter Netzer’s film is held steady by Gheorghiu’s staunch performance.

In narrowing his film’s field of activity, director Colin Trevorrow dispiritingly winds up reducing it to the tried, the tested, and the numbingly familiar.

Viewed as a Brit answer to ’70s and ’80s exploitation flicks, endless Seagal movies and First Blood (Dyer is rogue SAS; his colonel issues Trautman-esque warnings), it’s surprisingly decent.

Pleasingly silly sequel is a colourful, creative, deliciously daft animation.

Despite the all-star talent, an overload of sight gags and an always-amiable vibe, Genndy Tartakovsky's monster house is a bit too loony for its own good.

Next to message-laden, CG-soaked kids’ animations, SpongeBob stands alone. His return is a skittish but winning splash of nonsense: dip in.

Shooting in dull, wintry colours, the mood is set for a story that can only end badly.

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

This was the Mamma Mia! of its day, a nostalgic blast of popular Irving Berlin showtunes gift-wrapped in new-fangled VistaVision that danced its way to the top of the 1954 box office.

Based on an oft-adapted ’60s sci-fi novel, this charming, visually fertile film captures the conflicted emotions of first love and embarrassment of being a teen with real sensitivity.

A visually striking and inventive overhaul of well-oiled IP that suggests animation was the right path all along. Autobots, roll out!

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

Richard Laxton’s painterly film combines the gothic shadows of Hitchcock’s Rebecca with the gut-wrenching romance of A Royal Affair. The result is dark and offbeat, but as a murky anti-romance, Gray is undeniably effective.

If you can ignore the disturbing parallels with recent events, this middle-aged, Middle-American "Attack The Block" raises a laugh.

As sci-fi, it feels like a professionally produced hybrid that lacks its own identity. As a romance, it never fully earns your investment.

The kills are inventive but Noble’s baggy trousered butcher is too sympathetic, and his teenage victims too generic for this to be in anyway scary.

A little more than a remake yet less than a makeover, Tina Fey’s watchable, well-cast revisit needed more daring to be wholly worthwhile.

It’s not Altman, but its heart is in the right place and Drameh impresses.

LaBeouf is committed, and it’s fun seeing him go toe-to-toe with Gary Oldman (as his boss). But amid Montiel’s jigsaw-like structure lurk some generic revelations. Disappointing.

Daniel Craig makes a decent fist of the narration. But you could also do without its gush about the “incredible journey” all beings on the planet share.

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…

It’s not without its moments, but more comic dexterity and less brute force would have made a less choppy watch.

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

The portentous narration, restless visuals and whimsical ghost characters (an unexpected Night at the Museum-style Napoleon) combine to make a thoughtful case about the inevitable interweaving of art and war.

Given the weighty themes of Moby Dick, In The Heart Of The Sea doesn't have a lot going on behind the outward action. The composite parts are in fine working order; it's the sum that's slightly lacking.

Though set in a divided country, it’s an effervescent period piece, edited with verve: Persiel combines recreations with archive footage, animation and home videos.

Although a bit over-neat in its contrasts between the respective families, Like Father, Like Son remains an affecting film, thanks to Fukuyama’s understated turn and Koreeda’s typically graceful visual storytelling.