An enjoyable, if boilerplate, boo-flick that maintains an enviable rate of scares per minute by throwing everything – demons, ghosts, snakes, loud noises – at the screen.

Amini’s film offers elegant pleasures and holds the interest – but it never grips as it should.

The tender, tragic vibe Williams tries for via our hero’s forbidden affair with aristo soprano Marie-Josephine (a brittle Samara Weaving) feels too speedily set up to be truly effective.

Misses the energy and vitality of Gregg Araki’s best work, but there’s more going on here than immediately meets the eye.

It’s not as epic as "March Of The Penguins," or as stunning as the BBC’s usual slo-mo nature porn – but with nary an animated tap dance in sight, it’s still king of the 3D penguins.

Anders Danielsen Lie gives a compelling, deep-etched lead turn, and you'll find yourself drawn in as he searches for a reason to continue living.

Early promise proves misleading in a sequel that should be far better than The Da Vinci Code than it actually is.

Unlike the stock teenagers of Ouija, the Zander family are likeable and convincing. Scares are still rudimentary, but rooted in a sharper script.

The 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

It’s a delight to watch Amy Adams do Jekyll and Hyde as she incrementally transforms from cheery Giselle to noxious stepmother, while Maya Rudolph is a whole heap of fun as the ultimate control-freak soccer mom who - of course - becomes queen when Monroeville turns into “one big fantasia”.

A challenging watch, steeped in numbing horror.

It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.

The fast and furious action is a bit plasticky, but the two starry leads bring some real sparks.

It’s just a pity that the storytelling sprawls all over the place, with some plotlines (like the Beetlejuice/Delores discord) failing to pay off. But mostly Beetlejuice Beetlejuice is a fun afterlife frolic.

Filmed in garish colours like an explosion in a paint factory, it’s more style than content, but diverting all the same.

Smartly spoofy rather than sweetly nostalgic, this distractingly star-studded jaunt is fast and funny, but short on emotional punch.

[An] engaging if straightforward doc.

At least until its Turning Red-ish plot becomes subsumed by a tiresome showdown finale, there’s a lot to take pleasure from here - not least the invertebrate protagonists’ amusing elasticity, which recalls the madcap fun of Tex Avery’s cartoon classics.

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.

As cozy as a mug of Horlicks inside an electric blanket, Hoffman's film couldn't offend if it tried. Age, however, has yet to wither its veterans' undimmed star appeal.

While the marriage of fluffy comedy and terminal illness was always going to be an uncomfortable one, this is an understated, genuinely poignant weepie bolstered by a top-drawer cast.

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...

A solid espionage thriller that’s lifted by its charismatic leads, Red Sparrow commits to the brutality of its subject matter, meaning it’s never easy viewing.

Huard’s charm offsets the plots contrivances, while Ken Scott’s finely balanced direction humanises the high concept.

Very tame, but saved from the remake scrapheap by Sam Rockwell's surprisingly touching performance and a final reel that – briefly – takes the material somewhere new.

Great beginning, patchy middle, bum-note ending. Like the Roses’ 1980s-90s lifespan, Meadows’ loving report on a “live resurrection” is indeed alive and passionate, until too many gaps render it less than godlike.

The latest Halloween installment is fun while it lasts, but unlike its predecessor, it’s not a classic for the ages.

Two fine performances - particularly from an unhinged Winstead - almost elevate Smashed to greatness. But an under-worked script leaves you feeling groggy and bleary-eyed by the end.