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Literary responsibilities and moral ambiguities aside, Beowulf remains a rollicking good story of man versus monsters, full of gory violence, sexy women, heavy drinking, treasure and shouting.

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

The enhancements here come, not to the source material but to the look of the film, which is beautifully rendered in immersive 3D.

As a piece of writing, it has a sharp, smart gloss, without soul or feeling.

Cunningham's characters are credible and beguiling, and skilfully rendered by the cast.

Having laid the foundations for a tense, realistic thriller, using documentary footage wherever possible, Sean Penn blows it with unnecessary camera tricks.

The Princess Bride is marvellous entertainment for all ages, and endlessly rewatchable.

Wry, funny and emotionally-charged.

The producers have kept what was best about the original, added some interesting touches and resisted the temptation to pile on the contrivances and explosions.

Matching the subtlety of the story and the assurance of the camerawork, the acting shines.

It’s the cinematic equivalent of Morris dancing: there’s lots going on, it’s entertaining enough – but you’re not entirely sure what the point is.