A grand folly that makes the Wachowskis’ "The Matrix" trilogy look prosaic, Cloud Atlas is a fascinating if flawed work that will leave you gasping one minute and gagging the next.

As impressive as [Berry] is, though, it’s the kids who shine brightest in a drama whose iron hold on the audience’s attention can withstand the odd dip into credulity-stretching implausibility.

More a "King's Speech" footnote than a sequel, Park only flies when Bill's centre stage. We're curious to see how it fares against "Lincoln," the award season's other presidential hopeful.

An intriguing concept is executed frustratingly poorly. On the Shyamalan spectrum, it’s more The Happening than Unbreakable.

One of the strangest mainstream releases of recent times, Dark Shadows' demented gothic melodrama/fish-out-of-water comedy/creature feature feels like you've slipped into a Burton fever-dream.

It’s a bonkers, ballistic, brain-numbing ride.

Solid casting and scares mix with thin plotting and middling monster moves in Savage’s King riff.

Washington and Wahlberg are an effective double act in an intermittently exciting thriller with more twists than it needs. We’d love to see them partnered again, though perhaps as characters.

It’s flawed, yes – Frances is frustratingly underwritten, her psychological fault lines spoken of but never shown – but it’s also swaggeringly cinematic. And it has Tom Hardy vs Tom Hardy.

With Yakin's all-action plot operating like clockwork, an on-song Statham proves anything but expendable in a genre he dominates. Predictable, sure, but equally pleasurable.

From overblown sci-fi concepts to incest and erections, Megalopolis is a comedy of errors in a more literal sense than may have been intended, despite its many Shakespeare references.

Overlong, but Momoa’s charisma, plus first-class fishy FX, keep it afloat.

Wahlberg finds his most interesting role since The Departed in a film that’s heavy on atmosphere and suspense but shy of a full deck when it comes to characterisation.

Muschietti directs confidently, notably in an opening sequence that betters both Justice Leagues for fun. What’s less persuasive is the CGI, an eyesore that’s particularly gaudy when the finale’s ‘secrets’ drop.

Alex Beaupain's songs effectively convey emotion, but Beloved doesn't scale the heights of the Truffaut and Demy films it pastiches.

Gore and guffaws go hand in weapon-wielding hand in a belated follow-up that struggles to replicate the original’s winning formula.

But for the most part it’s Neanderthal compared to the Pixar stable.

Rude, crude and packed with more laughs than Jay’s had lovers (6,004, apparently), Inbetweeners fans will lap this up. All this, and a killer twist at the end.

The result is poetic but unfocused.

Lovely animation evokes a world made from Fuzzy-Felt and Play-Doh.

Ultimately, though, the combination of handsome visuals and assemblage of sketchy moments leave it feeling more like a museum piece, offering impressions over a gratifying narrative experience.

Tots will enjoy, but there’s no denying the pieces don’t quite click together. Best giant moggy since The Goodies, mind.

The ’toon still rules when it comes to heart, but this shot-for-shot remake is an impressively mounted, visually breathtaking nostalgia rush.

An amusing, thoughtful romcom about love, literature and coming of age. Whatever age.

A slice of raggedy realism with ultra-naturalistic performances.

No Badlands, but the best of the recent minor Malicks. And it features Val Kilmer with a chainsaw.

Though ambitious and visually stunning (gorgeous cracked deserts, beautiful beaches, houses filled with sand), it’s willfully elusive and unwieldy to the point of frustrating.

Ripples in time create holes in the plot, but Reynolds and his younger self patch over the missing piece with incredibly watchable charisma.