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It has little teen humour, with the majority of the cast unlikely to see 40 again, and there is not enough plot substance to constitute an incentive for the older crowd.

This is an extraordinary film. De Niro in the central role delivers one of those powerhouse performances that simply blows the audience away.

This is storytelling in its truest sense and the cast rise to the occasion.

The documentary lifts the various stones around the movie's creation and lets us have a good look at the monsters hiding underneath Welles's barely watchable, misogynistic hate parade.

With gusto and humour John Carpenter delivers a steady stream of explosive gun fights and brutal action.

Hauru's film is deliberately messy, satirising everything from the sacred treatment of hockey stars to yoghurt sponsorship.

Biting satire, a sharp script and wonderful performances make it a must-see.

A classic white-knuckle ride.

This isn't the Thomas we loved when there was nothing else to watch

Fortunately, McDormand never lets Mildred's hold on us slip, balancing the conundrum of a woman who is simultaneously a mum, who likes a beer and a game of pool, and a Rambo-style avenging angel.

Hoogendoorn crafts the tension around space and body which cinematographer Gregg Telussa captures candidly, usually keeping both protagonists within the frame.

It's an undoubtedly stop-start affair, but there's enough to keep you going.

There’s a careful balance between real thrills and the inescapable comedy of these situations. This is managed by way of an ineffable sense of cool.

For the very young, the film has charm. For the slightly older, it has angry bees, painful accidents and an avalanche.

The performances here are spot on, but it’s the rich detail that really brings it to life.

The film races along with an air of tumultuous enjoyment.

The film really shouldn’t work, but it does.

Longstanding fans will enjoy her extensive contributions, as considered and witty as ever.

Visually inventive and imaginative.

Tower Heist hangs on its fast pacing, its glossy look and the performances of the actors.

Everything the British Empire once stood for is here - grit, courage, fair play, indomitability, initiative and lips that stay stiff without artificial aids.

Even in the cheapest of zombie films, human bodies have never come apart so easily, nor contained such an abundance of blood. It explodes across the screen at frequent intervals, each one more spectacular than the last.

Celebrity docu-portraits like this are ten a penny; what makes this one different is the extraordinary story and the intensity with which it's delivered.

The film is neither preachy, nor sentimental. It is about tolerance and truth and how the two cannot live together without hope.

There have been great police corruption movies - Sidney Lumet's Q&A comes to mind - but usually they are more subtle than this.

Its comedy leaps barricades.

Would you like to see things you've seen before, slightly re-organised, and often louder?

There isn't a point where Ares feels fun.

Ultimately, there is no depth to the drama and precious little soul.

Jim Carrey throws off his clownish mannerisms and gives a sympathetic performance of a naive man discovering a little knowledge.

Turner is typically assured in a physically demanding role which also requires some monologuing and a lot of holding audience interest by herself.

Øie makes good use of the claustrophobia generated by his smoke-filled tunnel, knowing when to keep it simple, and this will doubtless be terrifying to some viewers.

Self-aware and as on the make as its lead, it’s an accomplished lowbudget debut.

The sort of character-driven comedy we seem to have sadly lost the art for in recent decades.

What really stands out in Tyrannosaur, however, are the towering performances.

If you want to die living, watch Tuning. It will make you cry.

The Tuxedo is like a Chinese meal. You've forgotten it half an hour later.

This movie is ridiculous.

Unfolding without tension or logic, Untraceable doesn’t miss a derivative beat.

For a feelgood movie, the hives are stacked against it.

Despite its dense plot, the story is as predictable as the route back to Creekville and it is testimony to Bettany and Lillis that Ball gets as much mileage out of it as he does.

There is layer upon layer of trickery at work here, unspooled in a farcical manner which will delight some viewers and infuriate others.

Maintains a fierce and continuous tension... like mainlining adrenaline.

Multiverses have become a box office staple lately, courtesy of Marvel and the like, but they are rarely as elegantly mounted as this retro and twisty little mystery from Timm Kröger.

It is at times meandering and not a little mawkish, but its vivid primary colours conceal a great deal of shaded nuance.

A film that from its outset immerses you totally in the world of city Alpha, as well as the humans and aliens that throng its crowded streets.

O'Toole is simply remarkable. He reinvents himself once again, stealing the breath away with his learned quicksilver wit and charisma.

If this sounds bad enough to be entertaining, that's true in places, but for most of the running time there's nothing to watch except a group of people sitting around bitching at each other.

Jacquot's film does not pander to the young or inexperienced and requires the viewer to read between the lines.

Brazilian singer-songwriter-turned-politician Gilberto Gil may be taking a "musical voyage" around the indigenous populations of Australia, Africa and his homeland but documentarian Pierre-Yves Borgeaud is all at sea when it comes to making his point.