Although only slightly more outrageous than reality, The Campaign is a funny, pacy peek behind the political curtain.

Savages is punishing in places, but there are enough colourful characters and careening twists to make it worth the effort.

Fine turns from Streep and Jones bedrock this compassionate, quietly subversive drama.

Though self-referential to a fault, the deadpan humour, frayed logic and monochrome dazzle cast their own richly peculiar spell.

Four trivial stories, forced laughs: don't expect much more from Allen's latest postcard from Europe.

Ole Bornedal's slick religious horror bears all the hallmarks of Sam Raimi's Ghost House Pictures (the Grudge remake, Drag Me To Hell) – except the gore.

Adam Sandler stumbles into his own movie about 10 minutes into That's My Boy, and that's where the fun ends.

Thoughtfully shot by first-time director Karl Markovics, the only warmth comes from the stiffening cadavers.

It's perfectly possible to like the title character of Lauren Greenfield's documentary – Jackie Siegel – while detesting everything she represents: grotesque financial inequality, jaw-dropping ignorance and appalling bad taste.

If you can ignore the disturbing parallels with recent events, this middle-aged, Middle-American "Attack The Block" raises a laugh.

Jaw-dropping in colour and splendour, but if the constant awe gets a bit tiring, at its best you can genuinely feel some great wheel turning.

Populist fare from across the channel that will amply repay those ready to put the time in. The scenery, meanwhile, makes you want to run out and buy a timeshare.

Entertaining in small doses, but gruelling at two hours, Wiseman's derivative, spec-hackular upgrade bins the twisted wit and meaty thrills of the Arnie original.

"Sometimes it's fun to run with the pack," counsels self-confessed lone wolf Chuck Norris. For the most part, you'd be well advised to choose the opposite direction.

Assured if not inspired, Legacy keeps the Bourne engine ticking over without reaching top gear. The action's accomplished and Renner's fine. Without Matt Damon, however, it feels like a placeholder.

Heartfelt and inventive, this documentary from exiled director Ali Samadi Ahadi chronicles Iran's abortive Green Revolution during the summer of 2009.

Creepy, jumpy, if somewhat samey, it's set above the spooker norm by its strong visuals, grief-steeped period setting and lingering ambiguity.

Some strained metaphors and character tics aside, this proves both Polley's perceptive eye and Williams' ability to explore life-scuffed emotions. Wry, risqué and real.

Creepier than "Catfish" and as cinematic as "Man On Wire," this is an unnerving story immaculately told and a strong contender for documentary of the year.

Alex Beaupain's songs effectively convey emotion, but Beloved doesn't scale the heights of the Truffaut and Demy films it pastiches.

Even if it lacks a stand-out turn it's still a grippingly authentic slice of life.

The finale, as Ai's Twitter tirades lead to a serious human-rights breach, will make your blood boil.

3D has been kind to teen dance flicks and Step Up 4's better set-pieces take full advantage. Shame the movie's other attempts to tango with the zeitgeist are rather more flat-footed.

Banal, blundering and at times downright ludicrous, 360 is a full-circle misfire that Meirelles' lively images can't salvage.

A vital, visceral antidote to Trump's slick PR machine.

A bleak yet strangely heartening film.

Less about the thousands who died in the Nanking massacre than about how stunning it all looked, Zhang Yimou's epic puts Bale in the midst of a lavish nightmare.

Thorough if workmanlike documentary.