Utterly assured, breathtakingly executed and riotously funny, this is a delight.

Some metaphors score and some miss, but this is leap-of-faith cinema: the rewards entail some risks.

An expertly calibrated drama confirming Marsh’s status as one of Britain’s most formidable filmmakers.

It isn’t a reboot or reimagining, refreshingly, but Oblivion plays like a stylised remix of superior sci-fi ground-breakers. Cruise and Kosinski: they might be an effective team, but pioneers they’re not.

It might not sound much on paper, but it’s all in the delivery, the appealing lead performances combining with Wheatley's sudden tonal shifts to produce a film that’s funny, sinister and strangely moving.

Steven Spielberg famously retained his childhood sense of wonder. On this evidence, Meyer has maintained a nine-year-old's notion of titillating romance.

It's stiff upper lips versus ruthless efficiency in Petter Naess’ modest WW2 drama.

Eckhart makes a decent Damon stand-in, but there’s nothing here than hasn’t been done (better) before.

Gosling and Cooper use their star currency to power a slow-burn, heartsick drama. "Blue Valentine" director Cianfrance is a serious talent.

With largely improvised dialogue and a cast including genuine ex-offenders, Chapiron captures a powerful stench of authenticity.

An outdated oddity.

As a shocker, Scott Stewart’s (Priest) film is solid, but it’s the thoroughly depressing backdrop that you’ll take away.

The leads make sweet music in an affecting four-piece that, if not note perfect, plays well to their individual strengths. A marked improvement overall on this year’s other Quartet.

“Rock solid,” is Bruce Willis’ nod-wink appraisal of an attack strategy in G.I. Joe: Retaliation. The film’s nowhere near as sturdy, trundling out middling action and nonsensical plotting.

Packed with fine performances, this attack on suburban conformity is surprising, darkly hilarious and cleverly leaves the insanity judgement to its audience.

Sprinting to the edge of preposterousness and back, this deliriously entertaining day-glo noir of fried brains and blown fuses denotes a director at the top of his game.

Brave, brash and exhilarating, but lacking the insight and impact of the Korine-scripted "Kids" (1995). Too much fun for social commentary, this is what you wish school was like.

What distinguishes My Brother The Devil is El Hosaini’s maturity in avoiding faux-doc grittiness, political grandstanding or flashy glorification in favour of an intimate, closely observed character piece.

The film belongs to Arena, outstanding as a man growing ever more delusional in his quest to acquire celebrity status.

It’s a premise that sounds like the silliest of celebrity vanity but is, in fact, presented as an endearing portrayal of Rastafari culture, spiritual exploration and Snoop’s own past, present and future.

The scuzz-chic visuals, sleaze-synth score and deep-cutting gore are effective, and shooting from the killer’s POV proves a valid USP. But Wood, despite giving his all, cannot match Joe Spinell’s unhinged turn in the original: nightmares in a damaged brain indeed.

The kills are inventive but Noble’s baggy trousered butcher is too sympathetic, and his teenage victims too generic for this to be in anyway scary.

The doltish, messy and frequently incoherent result bears all the hallmarks of a botched and compromised endeavour.

Melissa McCarthy’s over-the-top performance as a low-rung grifter enlivens what is otherwise a groan-worthy odd-couple comedy.

Not one for cynics or bedwetters, if you’re after a ripping, roaring, thigh-slapping giant of a fairytale, Bryan Singer’s blockbuster panto will be right up your beanstalk.

Carell and Carrey shine like sequinned suits in a comedy that allows them endless fun with the dressing-up box. More narrative verve and it could’ve been The Prestige in a big-cat wig.

There’s an emotional vacuum at its centre but Welcome To The Punch is an adrenalin shot to the heart of the Brit-crime genre.

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