Hyena may be grim, but it’s also grimly engrossing in a way that gets under the skin.

While there’s little here to jangle the nerves, The Mummy does wrap up enough adventure, action and quips to make it, if not a scream, a worthwhile Friday night out.

Kingsley essays both authenticity and humour, but it’s often hard to know what’s steering the story.

If Eric Rohmer were British, this is the kind of film he’d make.

Just as bloody yet much more conventional, 300 #2 offers splashy thrills aplenty but fails to make a watertight case for its own existence. Green, however, ensures it stays afloat.

Following preparations for the Met’s 2015 exhibition ‘China: Through the Looking Glass’, this modest doc asks: can fashion be art? The answer is ambivalent.

Fast, fierce, fuzzy: nicely unruly, naggingly undisciplined, Johnson’s live-action DC bow strains to entertain but struggles to breathe amid the noise.

There’s a lack of genuine emotional heft, not helped by some clunky dialogue (lines like "we are literally living on borrowed time"). But what the film really misses, amid several ear-splitting, CG-heavy alien-attack set-pieces, is humour.

2 Days is a sparky, crowd-cheering gem buoyed by Julie Delpy's smart writing and Adam Goldberg's tart whining. Less swoony than Linklater's "Before Sunrise/Sunset," but Delpy nails the relationship humour.

Despite some missteps, SEGA’s videogame mascot proves his previous movie was no flash in the pan.

Eddie Redmayne shines as a transgender trailblazer. But a stiff love story and stately staging make this Danish too sweet…

Hanks takes to Walt like a pair of cosy slippers, but it’s Thompson who adds layers to a classy but predictable slice of Disney schmaltz.

Despite top-notch visuals and versatile voice-work from Ty Burrell’s (Modern Family) doting doggy dad and Alison Janney’s monstrous social worker, it lacks the "Up"-style warmth to be best in show.

Though we'd love to see how Aardman handle Defoe's followup, An Adventure With Communists, this amiable but overstretched diversion is unlikely to spawn a Caribbean franchise.

Brown and the beast strike sparks as Fresnadillo’s initially lukewarm adventure gradually heats up.

It might sound like a lazy idea for an iPhone game but a few fresh jokes and lashings of creative gore help it stand out from the shuffling crowd.

As a movie, it`s old-fashioned - comfortably chucklesome, but so predictable you can see the plot being hand-twisted. Still, unless you find the "Why do women have small feet?" joke* hilarious, you'll find at least some of it entertaining.

The results – achieved through small cameras clipped to nets, masts and the crew – will hook some and induce seasickness in others.

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."

Given the short from whence it came ran a mere 12 minutes, there is a definite sense of material being extended beyond its elasticity. Yet it’s a decent vehicle for Ridley that, like last year’s The Marsh King’s Daughter, shows she doesn’t need a galaxy far, far away to demonstrate her star (Wars) power.

Tom Hanks gives a fine leading performance as Captain Kidd, yet the plot falls into problematic stereotypes at times.

Though awkwardly assembled, with an overemphatic voiceover, it’s chilling stuff.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.

The deaths are exuberantly grisly and explosive, too, the sound mix relishing every gooey squelch. Yet as predictable twists and an underused final cameo arrive, all the blood isn’t enough to cover up the nagging shortfalls of final-act invention.

With recriminations turning to compassion, the film sings when these French titans share the screen, Deneuve’s loose cannon a mixture of hedonism and terror. If only the other scenes were as compelling.

For those looking for an easy-on-the-eye, brain-in-neutral-thriller, Wolfs still hits the spot.

A satire of capitalist can-do thinking lurks in The Wrestler/Turbo writer Robert D. Siegel’s script, yet Hancock (Saving Mr. Banks) lacks the stomach to do full justice to its vision of the American dream plummeting into a nightmare.

A grindhouse mix of "Wild Things," "Killer Joe" and "Streetcar Named Desire," The Paperboy won’t be for all. But it boasts a soupy atmosphere and Kidman’s best turn for years.