Stylish and savage, but nothing you haven't seen before. Lawless is something of a blunt instrument but seductive nonetheless.

Some of the vibrancy has worn off but this Rock-solid sequel has enough giggles and gasps to attract herds of viewers.

Moana remains as compelling a protagonist as ever in her much-anticipated sequel, whilst her reunion with Maui showcases the wonderful voice talents of Auli’i Cravalho and Dwayne 'The Rock' Johnson. There’s plenty to admire in the animation and rich mythology of the tale, but it rehashes many of the themes and plot points of the original leading to a fun but less vital movie.

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.

Denzel Washington is compelling in Robert McCall's swan song, but the story often falls flat.

Charming, spectacular, technically audacious… in short, everything you expect from a Peter Jackson movie. A feeling of familiarity does take hold in places, but this is an epically entertaining first course.

Initially promising, this Aussie weepie branches unconvincingly into magic realism, with symbolism so clunky it hampers Gainsbourg’s involving turn.

If buddy movies are your thing but Christmas flicks aren't, you'll enjoy this refreshingly edgy romp about three friends lost in the city full of hallucinogens and regrets.

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

Jarrold struggles to sweep things along with quite enough vigour – budget constraints crowd the edge of the frame – but Gadon is intoxicating as Elizabeth.

A terrific thrill ride. With Ford in fine form, Indy’s last stand is a highly satisfying blend of action, humour and emotion.

A darker and sadder Part 2 brings the story of Oz's witches to a moving close and cements Jon M. Chu's adaptation of Wicked as an absolute triumph. But, For Good suffers slightly from thinner source material and weak new songs.

A sweet-natured love story, well-intentioned, animated and acted, but lacking the depth of some of the studio’s greatest triumphs.

Occasionally potent but mostly risible, this tale of the occult sees Rob Zombie cast a weak spell. Disappointing.

Some will balk at Pinto's passivity, but Trishna again shows Winterbottom to be one of the few directors today who are liberated, rather than constricted, by classic literature.

Stanfield, on double duty as both Clarence and his straitlaced disciple twin Thomas, is a charismatic lead in a cast that boasts more than one enjoyable cameo. Yet you can’t help concluding that Samuel’s laudable ambition to give his mischievous comedy a deeper resonance was too heavy a cross to bear.

Over-ambitious perhaps, but Freyne’s intensely executed ‘infected’ fable packs tension, resonance, and clout.

Led by some fine performances, this is an impressive and intense example of how to adapt Stephen King.

Contrived attempts to 'explain' the film's many mysteries ultimately disappoint.

The World Is Not Enough is, without a doubt, a solidly entertaining chapter in the Bond franchise's chequered history. But while Apted fiddles with the format, this is far from an overhaul of the blueprint, and so lacks the whiff of freshness long-time fans may have been sniffing for.

Hardly the most original film of the year, but one of the most purely pleasurable. The ideal horror intro for fledgling genre fans – scary fun that definitely fills a hole.

Script and acting are flawless – but set beside Bertolucci’s glory years (The Conformist, Last Tango In Paris, Novecento) it all feels a bit slight.

In the end, Road House is a solid actioner, a frolic that Liman marshals competently. This is a fun Friday-night fight-fest, best enjoyed with a few bevvies – brash, loud, knockabout and liable to leave you with a cauliflower ear or two.

A grandiose Western based on the Johnson County War of 1892, when cattle barons brought in mercenaries to massacre immigrant settlers, it suffers badly from narrative incoherence. But there’s a grand romantic sweep to the action (enacted by a solid cast including Kris Kristofferson, Christopher Walken and Isabelle Huppert), the set-pieces are majestic and its disenchanted view of the American frontier myth still rings ominously true.

It's overlong and laboured in places, but worth a bite for the money-shot set-pieces. Plus... zombie tiger!

An Arab Spring-y allegory with kissing cousins and a divine countryside setting, Kevin Macdonald’s fourth narrative film is an awkward oddity, as uncomfortable in its own skin as its protagonist.

Cage disappointingly disappears for a good chunk of the runtime, but Martell and Jenkins hold the fort until he reemerges in suitably dramatic fashion during Arcadian’s climax. Sadly little else in the finale works so well, with ropey special effects and ludicrous set pieces undercutting the intrigue created at the start.

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.