Search: Starring James McAvoy

This simultaneously cool and cosy tale of families and Christmas spirit will have Aardman's pockets jingling all the way to the bank. And deservedly so.

The pace squeezes your windpipe; the action pulverises your senses; the plot double crosses your preconception

You'll be lucky to see another film this year as absorbing and evocative as Atonement.

A wispy romance as ripe as a Regency virgin and twice as fanciful.

Simply put, I don't know what it's trying to do, and I don't know if it does either.

Where Fry succeeds so well is allowing the intrinsic innocence of these brittle butterflies to be exposed without mockery.

The lads’ delight at their early success is engaging, and both stars acquit themselves well.

It is a red-blooded, beautiful and brilliant fantasy film, as quintessentially English as Wallace & Gromit.

The parallels with The Global War On Terror are obvious, but feel over-egged.

Bassett's taut script takes risks with credibility.

How the characters deal with grief is beautifully captured in the nuanced performances of McAvoy and Chastain.

It's sad to see McAvoy's raving, raging talent gone to waste on something so patchy.

While the concept is a quirky, eccentric delight, the film itself rarely feels like anything other than a run-of-the-mill animation of (ahem) garden variety standard.

The performances are flawless, the story laced with black humour.

Though the destination of The Last Station holds some interest, much of the journey is far too dull.

It is a brave film that portrays Idi Amin not simply as a monster, but as a complex individual.

As a modern fairy tale Penelope has a gentle touch, and while flat in places it's definitely more silk purse than sow's ear.

It's not just sexist, ableist and desperately badly researched, it's also, purely and simply, not very good.

You may suffer mild face ache. This is caused by persistent smiling

Starter for Ten is not searing drama, but it does make for a pleasant and worthwhile trip down nostalgia lane.

The musical accompaniment is powerful and one feels the viewer is in for a treat, but soon the wooden puppets become, well, very wooden and the wonderful aesthetic loses its attraction, with each movement taking too long.

Boyle makes excellent use of London's roofscape and some dazzling modern apartments whose glass provides both reflective and transparent surfaces which help confuse dream and reality.

This fine array of actors is charged with safeguarding a plot as weak and confused as a newborn kitten.

Consistently funny.

In terms of awesome per second, Wanted just set a new record.

Without the all-star cast, it's easy to imagine X-Men: Apocalypse as a dismal failure, but the somewhat nonsensical script is rescued by the performances.

This was a great chance to cover one of the most iconic storylines in the history of comics, squandered by not handing the script to a five-year-old child in order to iron out some of the more egregious errors prior to filming.

What makes this film so enjoyable is the chemistry that holds its ensemble together.

It's not only the best X-Men film yet, it's a fantastic piece of cinema in its own right.