A serious subject is sensitively handled in a drama that’s otherwise just tear-jerking soap opera.

The Raid star remains an electrifying, inventive fighter, even fending off a machete-wielding foe while handcuffed to a table.

Hits all the routine beats but is plenty entertaining, with Pacino rediscovering his enviable pizazz to headline a quality ensemble.

What Black’s movie really has going for it is pace. It starts with a crash, followed swiftly by a bang and vast swathes of wallop. The relentlessness doesn’t allow you any time to catch a yawn, but it’s also not too conducive to tension or suspense.

As Johnson enters Columbine-style turf, a clearer slant on our modern mindset is required than the one he offers.

Classy work from director and cast, but an anti-climactic second half doesn’t quite knit together the incident and intrigue.

A very big, exceedingly dumb thrill ride.

This is Malick turning graceful, ever-decreasing circles, though there’s a thrill to seeing him traverse hotel rooms and studio lots, nightclubs and strip clubs, after a career wrapped up in the period and pastoral.

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

Thoughtfully shot by first-time director Karl Markovics, the only warmth comes from the stiffening cadavers.

Fun when Jones is around, dull when he's not, it's all just a little bit of history repeating.

Eugène Green’s (The Portuguese Nun) direction favours symmetry over emotion, while the impassive performance style recalls French auteur Robert Bresson. It lacks the profundity to fully merit that comparison, but earns its uplifting ending.

Short, sweet and hilariously unpleasant, Bride Of Chucky packs in the blood and jokes tighter than Jennifer Tilly in a black rubber dress. Both are well worth watching. Don't bother to see the first three Chucky films - this comic horror stands alone.

The car-nage that ensues is confined to a maze of underground tunnels, too dark and claustrophobic a setting to appreciate stunt scenes already made hard to follow by the epileptic editing.

While it could use a few banana peels to slow its relentless pace, this adaptation is a faithful introduction to the Mushroom Kingdom.

Not quite as good as the original, but John Singleton's boyz-and-their-customised-hoods sequel won't disappoint. Settle back, hang on and smell that rubber.

It's a rocky, at times patience-testing ride that plays something like a screwball riff on The Plot Against America, but Amsterdam is ultimately worth the trip.

Not the promised insider’s peek but Assayas and Binoche are still a potent combo, nailing the fragility of an actress facing the ageing process.

Familiar territory, especially if you've seen "Hoop Dreams" and "Friday Night Lights," but the intimate style offers its own rewards.

Skarsgård and Peña relish their roles, but this pitch-black action-com feels like 100 gags in search of a storyline.

Childminders rejoice: the formulaic but family-friendly series is back and it's business as usual.

Don’t overlook this spiritual sequel to "The Shining." But don’t expect it get close to Kubrick’s original, either.

An impish Peter and an enjoyable Hook shine in this comfy, occasionally inspired take on J.M. Barrie’s classic.

It’s hardly fresh, but the spectacle is decent and the relationship dynamics absorb just enough to fill the lengthy run time.

Despite being as garish and manufactured as Perry's multi-coloured hair-don'ts, Part Of Me deserves kudos for allowing an element of unpredictability to intrude upon its tween exploitation and sugary vulgarity.

Thorough if workmanlike documentary.

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.

Less about the thousands who died in the Nanking massacre than about how stunning it all looked, Zhang Yimou's epic puts Bale in the midst of a lavish nightmare.