It’s a histrionic distraction from the band doing their thing. Watch "Some Kind Of Monster" instead.

Pitched perfectly between microbudget miracle "Once" and all-star Aegean romp "Mamma Mia!" What these songs lack in recognition they make up for in feelgood factor.

Despite Gwynnie and her lingerie-clad lap-dancing, this sober, issue-based dramedy is preachy and a tad soapy, rather than provocative. Fine acting, though.

The one-liners are in evidence but this is more abrasive than you might expect. Blends rigour and vigour to join "Vicky Cristina Barcelona" and "Midnight In Paris" as the best of late-period Woody.

Too witless to be a decent comedy, too charmless to call itself a parody, this messy adap of Shannon Hale’s novel groans under the weight of a predictable plot and explosive overacting, although Bret McKenzie wrestling awful dialogue at least brings a touch of adorability as the resort’s elfin stable lad.

With McAvoy acting as if his life depends on it, Filth is the Irvine Welsh film we’ve been waiting years for. Tastier than a deep-fried Mars Bar.

Justin Timberlake and Ben Affleck give their best poker faces but ultimately fail to convince you to gamble your cash away on this limp, unoriginal story of a man out of his depth.

A simmering pressure cooker of a thriller, Prisoners is an unforgiving but emotionally rewarding experience sustained by powerhouse performances, taut scripting and Villeneuve’s tonally assured direction.

Big vistas and big names can’t compensate for the film’s necessity to cram Dickens’ rich, sprawling set of characters and twisty subplots into a two-hour film.

"Poltergeist" goes "Back To The Future" with only passable results in a film whose activity is more par for the course than paranormal.

Mme C. is Carine Roitfeld, ex-editor of Vogue Paris and former stylist. She’s a maternal presence – her own son calls her a MILF. Which makes for fantastic access, if minimal drama.

By turns dynamic, dangerous and bursting with passion, Out In The Dark is a stark, swoonsome romantic drama.

It’s let down by some erratic, repetitive plotting.

Too stodgy for B-movie suspense, too silly to shock, too sexist to stomach, Diesel’s return misfires.

Lowery’s understated authority lifts his tragic romance above mere Malick mimicry, while Affleck and Mara bring heart to the scrupulous artistry. All you need is a little patience...

Blurring documentary/fiction boundaries, writer/director Jem Cohen’s film is deceptively simple.

Longer than OHF and just as daft, WHD makes for a more entertaining watch before succumbing to the same bombastic overkill.

Utterly gripping. Aided by two punchy lead turns, an Oscar-worthy script and stunning in-car footage, Howard’s race film delivers top-gear drama. A piston- and heart-pumping triumph.

No prizes for guessing who ends up with whom, but the colourful retro designs and the leads’ sparkling chemistry help to Tipp-Ex over some of the predictability.

Gray’s technique is effective, catching the moment one Indian scientist, Yusuf Hamied, stood up and got the moral ball rolling.

Full of ear-pleasing lines and obscure R&B tunes, it’s colourful, casual and full of flavour. An unexpected treat.

Gamely directed and acted, but a little threadbare in terms of plot and design, it’s suitably savage but not quite fun enough to forgive the flaws.

It’s predictable, politically incorrect and too long – but a handful of really big chuckles excuse most of the cop-outs. There’s a much edgier film in here somewhere, but this one will definitely do.

As for some of the big reveals, viewers will see them coming from a galaxy far, far away.

Curveballs are rare in this pop-umentary on Earth’s biggest boyband; but with lengthy gig clips, lots of cute mucking-about (segways, disguises, hiding in wheelie bins) and Harry’s shirt off within the first 10 minutes, Directioners won’t be disappointed.

The leads gurn gamely, Ben Batt’s villain oozes menace and Golden directs energetically, but the climactic twists are as convincing as pills made of washing powder.

Capturing the essence of the source novel, this is a superior adult drama. Harrowing, heartbreaking but utterly compelling.

If the Collette/Carell reunion suggests Little Miss Sunshine, it’s not quite that crowd-pleasing. But, crafted with much TLC and sympathy, it’s perfectly tailored to the tongue-tied teen in us all.