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Two things that save this cowp of a film from utter banality are the cinematography, which is technically competent, and the quality of the actors and their performances.

The effects and gadgets are secondary to David's quest. That is Spielberg all over. Wherever there is a heartbeat, he stimulates it. Wherever there are tears, he finds them.

Like its central character, then, this is beautiful and brave even if it fails to fully realise its potential.

The film is arguably not very technically sophisticated or stylistically consistent... but these faults are compensated for by actors Owen and Bluteau, who essentially carry the film alone for its second half.

Retains a tight grip on your imagination

Breaking And Entering feels genuinely homegrown, with an intelligent script, beautifully handled by actors and director.

Cap Marvel is another powerful woman hero to add to the line-up.

After a compelling start and a long, immersive second act, sadly Contagion starts to peter out towards the end.

Director Mike Nichols' most powerful tour-de-force since the classic Who's Afraid of Virginia Woolf?

Cronenberg has created a dazzling star in the futuristic psycho-thriller firmament.

Grand chases and massive effects.

Handsomely mounted and costumed with enough sparks and pace to quicken the interest and heighten the senses.

Words fail. If shock and disgust is what the directors want, they have it.

The design has a stainless veneer, bathed in early morning light.

An emotionally engaging tale that sucks you in with its gentle humour and melancholy.

The Holiday is a romantic comedy. You know what that means.

referential re-enactments of everything from Harold Lloyd to Fritz Lang will massage the ego of the informed but like most modern remakes, these scenes lack the heart and soul of their inspirations, and aren't imaginative or exciting enough out of context

If the story of a stranger arriving to try and save a beautiful young woman sounds like a familiar fairytale, beware - this is Gilliam's work after all, and nothing is quite as it seems.

This is as inventive and left field as Being John Malkovich, but with broader smiles and bigger issues.

Jim Carrey makes a compelling villain, so much so that when he's not on screen, you want him back.

No one really acts, except Ifans, who can't help being funny, even when he's mad with rage.

There is no character developement, no tension.

Aesthetically this film is an absolute joy to watch. Somehow though, my satisfaction with the story didn’t match my sensory pleasure.

The screenplay and direction deftly let the audience put together the pieces, making the discrepancies plain to see without hitting us over the head with their existence.

The Order might not be too original, both in the plot and the character department, but it is very effective, functional movie fun.

Throughout, it’s uncomfortable viewing due to the sheer awkwardness of the subject matter.

The set-up is formulaic, to say the least.

Sam Mendes creates a mood of menace by avoiding obligatory violence.

Soderbergh, just as he did with his 2011 film Contagion shows that the disaster you expected safely elsewhere, is right in front of you.

The consistent inventiveness of the visuals is matched by the white-knuckle excitement of the plot.

There is slapstick here, but we know Susan has the chops to handle things and we are thankfully never invited to simply 'laugh at the fat girl'.

A more action-led and contemporary take to satisfy modern audiences, with a hero who's as much a swashbuckler as he is a stuffy intellectual.

Released for the Christmas audience, this film does have a touch of the pantomime about it.

Everything hangs on Billy, but he's empty.

This cannot really be recommended as a cinematic experience. However, it's a thrilling piece of theatre, and a good chance to see two of the country's most capable actors at their best.

Matt Damon's performance is deliciously low-key.

Even its vapidity fails to contribute anything new to the subject matter it's dealing with.

Dano has chosen to use the same flat vocal expression throughout, a technique well suited to satire which might have worked if only the rest of the film had been a bit more lively.