The action’s passable and Gillan makes a decent fist of an underwritten character. Otherwise, this Jumanji makeover’s a losing game.

With a little money, a lot of innovation, and sweat-soaked stunt sequences backed by a thumping soundtrack, The Fast And The Furious reminds you just how exciting action cinema can be. It's everything that Gone In 60 Seconds should have been.

To The Wonder doesn’t quite live up to the sky-high expectations set by his earlier films. But it’s still a brave, soul-stirring and sensitive work.

This classy adap of a much-garlanded stage play will appeal to discerning audiences who can tolerate unpleasant characters with potty mouths if they're played by Oscar winners.

A mix of the intimate and cosmic that shoots for the stars. You’ll float… and sometimes bump back to earth.

Justin Lin gets the series back on track with Fast and Furious 9 by delving into the past while racing into the future. See it on the biggest, loudest screen possible.

Leagues ahead of Legacy but the weakest of the Matt Damon movies, Bourne still has the power to thrill. But it seems his story has run out of steam.

There is some doubt as to the facts of the story (isn’t there always, with Hollywood biopics?), and Longoria hardly shakes up the biopic formula. But the result is a tasty treat that will satisfy a thirst for entertainment.

As we watch Lee still encouraging ‘true believers’ well into his old age, it’s hard not to be moved.

This funny, touching adap of Shrabani Basu’s 2010 biography has its own chemistry, withering wit and unsentimental message of acceptance. A royal treat.

Park Chan-wook brings operatic finesse to generic material in his tight-wound, wickedly weird US debut. And Mia Wasikowska nails it.

Saluting both America's national pastime and its oldest working icon, Curve is a solid heart-tugger that plays with a straight bat when it comes to plot, character and message.

An uncomfortable fit for the Time's Up era.

Paul Giamatti shines as Theo’s pessimistic brother Chet, and the uplifting message never smashes you over the head.

Laugh-out-loud in places. Frustratingly flat in others. Sporadic giggles guaranteed. Fey and Poehler’s comic chemistry is undeniable; shame the script didn’t get a Liz Lemon rewrite.

Outrageous, outlandish and overboard, The Dictator will satisfy Cohen's army of fans. But it never feels as funny, full-on or fresh as "Borat" and "Brüno."

This is 007 in mid-story crisis; a festival of blaring action set-pieces propping up a scrappy script and undercooked characters.

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

More "oooh… aaah" than "ho-ho-ho", ROTG is so full of yuletide razzmatazz that only true Scrooges will have trouble stomaching it. If only Santa's workshop had given the script more of a tinker...

No ray guns, no tentacular beasties, just gravitas in a film that goes boldly about its business but never quite lands.

Pioneer features underwater sequences so breathless they’ll thrill even James Cameron (director Erik Skjoldbjærg made the original Insomnia) but Petter’s truth-chasing is at times too frantic and melodramatic.

This stiffly scripted film never quite stirs the emotions.

Coherence croaks as Gout dishes enough jump-cuts, whip pans and slo-mo assassinations to make Michael Bay look restrained, but the multi-handed mood music offers meaty compensations.

Sweeping landscape shots and the reliable presence of Sergi López, here playing a scarred private investigator, can’t distract from the clichés of a particularly dim-witted script.

Though it dabbles with the horror of the Third Reich it never examines their worst atrocities ... And that perhaps, is too careless in today’s world of a rising far right and stealth dictatorships. But if you’re looking for giddy escapism, Bowie tunes and an unapologetic good time with a side order of remembrance for of WW2, then you’ll have as much fun as the cast clearly had making this.

With characters you care about – principally Teresa Palmer’s appealingly edgy, cliché-bucking Rebecca – and a poignant denouement, this is horror with guts as well as gore.

Throughout, there’s a tendency to descend into farce, which yields laughs, but ultimately hampers these Letters’ potential to say something more profound.

No prizes for guessing who ends up with whom, but the colourful retro designs and the leads’ sparkling chemistry help to Tipp-Ex over some of the predictability.