Odd-couple chemistry from Dench and Coogan, a smart script and honed direction make this real-life story highly compelling. Blending comedy and tragedy, it secretes a potent sting.

A stunning space saga that takes off for new technical frontiers without leaving its humanity behind.

This blistering, Oscar-nominated documentary tells how its members refused to let patients become pariahs.

Maverick director James Toback (Fingers) and Alec Baldwin front this frequently hilarious insider doc.

Despite some affecting moments, the lumbering Parkland feels more like a well-researched magazine feature than an involving drama. As Billy Bob Thornton’s lawman says: “This was not supposed to happen.”

The restlessness of the camerawork may drive you to distraction, but director/co-writer Calin Peter Netzer’s film is held steady by Gheorghiu’s staunch performance.

Alexander Sokurov’s riff on Goethe’s tragedy is a bewildering but blazingly styled fever-dream epic.

An absorbing thriller that favours vivid characters, profound ideas and Old Testament morals over propulsive plotting and set-pieces. With lots of blood.

It’s a slow-burning, well-acted thriller that’s only really let down in its third act: an unsatisfyingly limp denouement that fails to convey what’s at stake with any sort of suspense.

Marvel’s man with the mallet does all that’s required of him in a breakneck sequel that’s never dark for long. Next time, though, we’ll have more Loki and fewer elves.

Like its hero, Ender’s Game relies on brains more than brute force. An absorbing portrait of Lord Of The Flies-style morality housed in imaginative sci-fi casing.

Carried aloft by the remarkable performances of her two young leads, Clio Barnard’s poignant, unflinching slice of hard-knock-life grips tight and lingers long. Britain’s definitely got talent.

Potts does the singing himself, but that doesn’t stop Justin Zackham’s (The Big Wedding) contrived script from sounding bum notes throughout.

With a large supporting cast and rapid gag-rate, ingredients are generous. But with no real plot to bind them, the pile-up of chaotic chases, repeat-on you leek puns and noisy dust-ups gradually kills the appetite.

Most of the gags fall flatter than a Knoxville belly-flop.

Splashes of overstatement aside, the ambition intoxicates.

Assured, adult filmmaking from a writer/director who knows her way around the ups and downs of relationships.

Green fashions a slow-burn charmer that’s a million miles from Pineapple Express in tone, pace and content. But just like that film, the odd couple interplay is beautifully judged.

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

Slicker than the original without the sudden lurches in quality, this second shaky-cam horror anthology still has a standout sequence by which all the others must be judged.

Squeezing every drop of tension from wet-ink recent history, Phillips only falters when making its protagonists mouthpieces in a broader geopolitical debate. Otherwise, it’s full steam ahead to the Oscars.

A highly enjoyable slice of in-one-eye, out-the-other nonsense. It may coast on the charisma of its leads at times, and it’s hardly deep, but there’s a Friday night to be had.

Showing subtlety the door almost the minute it starts, David E Talbert's romcom is the filmic equivalent of a frying pan to the skull.

Perfectly respectable, but it won’t linger in the memory like Luhrmann’s.

Fun when Jones is around, dull when he's not, it's all just a little bit of history repeating.

The result? An accomplished, bittersweet drama that's more bitter than sweet.

Like a meal made entirely of chillies, Machete Mk II is spicy to start with, then unpleasant, then numbing - before it all starts to repeat.

With a riveting portrayal by Cumberbatch at its heart, The Fifth Estate tells its story grippingly - but finally leaves us none the wiser.