Big vistas and big names can’t compensate for the film’s necessity to cram Dickens’ rich, sprawling set of characters and twisty subplots into a two-hour film.

A Frankenstein’s monster of comedy, romance and horror that’s less than its parts, Warm Bodies entertains but underwhelms.

Aja brings an exciting if less- than-watertight script to life with a minimum of fuss, plenty of flair and just a few eye-rolls.

Firth is terrific in an unbelievable-but-true tale that charts a course from the ridiculous to the profound.

If the story doesn’t strain itself in pursuit of originality, it does build to a satisfying conclusion.

Damon’s sturdy presence just about holds it together, while Breslin shows some impressive chops as the daughter who is too aware of his failings to see him as her saviour. By the end, though, the still waters McCarthy seeks to navigate don’t run deep so much as dry – a consequence, you suspect, of trying to cram too many genres into one star vehicle.

A low-key charmer, this lovingly-crafted, melancholic movie is a big, comforting hug of a film.

We’ve all been waiting for Gadot, and it was worth it. A much-needed blockbuster full of humour, spectacle and optimism.

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.

If the film isn’t quite as inventive as the game-changing horror that was Cabin in the Woods (which boasted Joss Whedon as co-scripter), it’s infused with affection and craft.

If you’re willing to let a few things slide, this is one of the best family blockbusters in years. Clooney and Robertson (literally) soar, the madcap action always feels grounded and Bird’s world is bursting with visual invention.

George Miller combines myth, magic, and romance to mixed effect in a visually dazzling adult fairytale starring a committed Swinton and Elba.

This portrait of an alienated culture funnelling its rage into gun violence is itself too cold and distant to connect.

Tobin Bell’s comeback may please some, but it’s not a sufficient X-cuse to see Saw resuscitated.

[A] fresh, eerie twist on urban horror.

The ensuing drama is typically Scandinavian in the best way possible – the setting's beautiful, the tensions slow-burning. Meanwhile, musical interludes courtesy of a barbershop quartet lend a playful undertone.

The Violators suffers from inevitable comparisons to Andrea Arnold’s Fish Tank, but is anchored by McQueen’s terrific performance in her feature debut.

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.

Acutely acted, The Fencer strikes home.

Testosterone, muscles, action, guns and cars… it’s Fast & Furious business as usual. Could be tighter, mind, and the constant dick-measuring gets a little wearying.

The ghost of Tex Avery is alive and well in a frenetic sequel that does more than reheat and serve. Madagascar 4? Don't bet against it.

Careful, kids – rock’n’roll can get you pregnant. Or that’s what one Mormon teen believes in this cute lo-fi indie from first-timer Rebecca Thomas.

The direction pummels and the cast impress, yet Berg’s war movie promises more than it delivers. Memories of Battleship are sunk, but that Oscar buzz may be a bit premature.

It’s not great Scott, but House Of Gucci still offers a fine excuse to vicariously experience the lifestyles of the rich and shameless.

This honest, if not funny, comedy is all about Celeste. If anyone can make you sympathise with affluent LA yuppies, Rashida Jones can.

Ellis has a real flair for action – the assassination scene is heart-stopping – but patchy accents, strange pacing and an overstretched budget nearly scupper proceedings.

It may not have the jeopardy of Touching The Void, but when Tenzing Norgay and Edmund Hillary finally reach the summit, we’re treated to an early candidate for one of 2014’s most transcendent film moments. This is genuinely inspirational stuff, and then some.

An exploitation movie that, paradoxically, exhibits too much good taste. Still, expect “Saws all!” to become a 2018 catchphrase.