By the time it’s over, you’ll either be heading for the beach or vowing never to go in the water again.

Sophie Lellouche’s slick debut is chock-full of Woody-com quotes and references, yet it remains an inconsequential, undernourished trifle that does sod-all with its potential.

While sympathetic to their plight, the directors prove alert to the story’s wider impact, speaking to proud parents and outraged opponents alike.

Vaughn and Wilson. eight years on from "Wedding Crashers," the pair successfully rekindle their irascible shtick.

Ocean’s Eleven meets The Prestige? Not quite. Starts well, ends in a heap, but in between there’s just enough splash and flash to distract from the lack of substance

The sci-fi premise seems preposterous, but get beyond that and Gedeck’s predicament absorbs.

The minions give good mayhem and the twig-armed animation’s lovely. Despite the coolest submarine-car since Bond’s Lotus Esprit, though, Despicable Me 2 is light on gadgets – and surprises, too.

A more-than-worthy, expectations-exceeding chapter in one of modern cinema’s finest love stories. As honest, convincing, funny, intimate and natural as its predecessors.

Exuberant when it’s in the ascendence but empty on the way back down, this well-crafted cock and balls story is – for the most part – filthy good fun.

Most ‘one crazy night’ movies (from After Hours to Superbad) thrive on a sense of escalation, but Stand Up Guys only seems to lower the stakes as it stumbles tediously on.

Another Brit hit, plus Batmanglij is beginning to show dash as director. The duo make a tight fist of hot topicality and high tension from an ideas-packed genre piece.

Veteran French actor Bouquet brings a lifetime of experience to his arthritic old master, though, while the frequently unclad Theret captivates and exasperates in equal measure.

Amazing stories. Heart- tweaking, brain-teasing and hugely enjoyable, Polley’s tangled memoir confirms her as an unflinching anatomist of secrets and lies.

Sharp and shiny as the jewellery its twisted teens pilfer, Coppola’s cautionary tale eschews action for angsting about celeb- obsessed culture. Worth it just to hear Watson snarl “I wanna ROB!”

As a celebrity’s-eye-view apocalypse movie, This Is The End delivers huge guffaws and large-scale carnage with enough gusto to mask the indulgences. You’ll never look at Michael Cera in the same way again.

A bracing attempt to bring the legend back into contention that successfully separates itself from other Super-movies but misses some of their warmth and charm. But given the craft and class, this could be the start of something special

A bright, breezy Irish monster mash boasting gorgeous cinematography, appealing performances and great SFX, even if it’s a little slight for can’t-miss status.

These truly are dark and terrible times if we are forced to accept the elitist problems of an Ivy League college admissions officer as shameless fodder for a romcom.

A breezy but heartfelt Shakespear update that should put a smile on the faces of Whedon fans, Bard worshippers and anyone in the mood for a sharp, sassy romance.

Though it covers similar thematic ground to Laurent Cantet’s haiti-set "Heading South," Seidl’s gruelling film proves his knack for leaving viewers emotionally discomfited.

The ending may be a little too tidy and obvious, but this is a sweet little study of the right royal mess people can make of relationships when they let their own neuroses take over, and a warm tribute to overcoming them.

The film strips away ideas of heroism mercilessly.

Jaden Smith takes centre stage in a futuristic rites of passager that plays like an extended episode of The Twilight Zone. Although "Oblivion" narrowly remains this summer’s better ruined-Earth actioner.

Choosing quantity over quality, intensity over tension and big-screen thrills over low-fi shocks – this is probably what the zombie apocalypse will actually look like.

Sweeping landscape shots and the reliable presence of Sergi López, here playing a scarred private investigator, can’t distract from the clichés of a particularly dim-witted script.

James DeMonaco’s blood-splattered thriller begins well before expiring slowly from multiple improbabilities.

A timely, gut-wrenching but ultimately hopeful work.

You’re left marvelling at London’s capacity for renewal and reinvention.