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– hyped beyond all reasonable expectation, this is nonetheless an impressive piece of cinema, likely to trump even the most cynical of viewers (of which I was one). That said, it’s not without its issues: the dreams vs love moral is troubling at best, and it’s manipulative in its narrative, leaving you valuing a year long whirlwind romance over a long term stable marriage.

– boring, annoying and undeserving sequel to the wonderful Finding Nemo

– Tom Hanks saves the flight, but perhaps not the lacklustre film, despite a consistently strong performance throughout. How many times can you show a plane landing on a river?

– long with distractingly bad CGI. Eddie Redmayne is typically autistic and blinky, and the rest of the cast are caricatures. Quite the disappointment all things considered. Watch it for more of that inventive world though.

– after a promising start, the twist disappoints, and the cat and mouse chase grinds to a tedious, uneventful stop

– probably the closest the big man has come to actually having to act, and bizarre to see him in a vulnerable role, but sadly the film is built upon a plot of sand, and the whole thing is too stupid to enjoy

– well meaning but bad film, triviliasing immensely nuanced subjects and skipping all sense of character for hasty plot advancement

– surprisingly excellent – a well crafted CG world and characters who stayed (mostly) true to the original. A shame it pulled a few punches, and reached a questionable conclusion about man in the animal kingdom!

– technically awful, but you know what it’s like, the Stath, doing his thing, tearing it up, delivering bad lines with such profundity… it’s a joy to criticise.

– really bad. Like, terrible. Mercifully short.

– one of the worst films I’ve had the displeasure of enduring.

– strong performances but overly long and devoid of thrills or real entertainment.

– vacuous duo rob vacuous goons in vacuous film. Not bad, but as unremarkable as a bus shelter.

– Again. And it just gets better. What a beautifully filmed and artfully constructed masterpiece this is. I can’t recommend it highly enough.

– gritty grim teen gorefest, slightly more interesting than average for the genre.

– I started intrigued, amused and definitely ‘creeped’ and then it dragged for a good 30 minutes. The finale was tidy and smartly executed but I wouldn’t recommend this unless you’re really into off the wall indie horrors.

– Excellent, if slightly overcooked Hollywood satire, littered with Christian allegory and political subtext. Very enjoyable.

– tedious and vainglorious propaganda flick.

– are increasingly unraveling

– tedious smash em up, with no sense of peril for any of the protagonists until its inevitable, drawn out conclusion. Quite the expensive flop.

– inane and strikingly stupid, and yet incomprehensibly, school-boy-gigglingly enjoyable

– the cinematography certainly inspires vertigo and awe, but the film itself feels so lighthearted as to be cheap.

– Frustratingly slow to develop, but nonetheless enjoyable and meticulously crafted. Not enough progress to warrant a full season, and the conclusion is so abrupt it’s unbefitting a finale.

– Po-faced, sulky and soulless movie, borderline tedious. Great music though. To quote an IMDb comment: “Nichols forgot to give his movie a pulse. How can a story about intense paternal love, faith, and transcendence feel this lifeless?”

– The least enjoyable of the recent rash of Westerns, but watchable

– cool, feel good vibes are the 90s beating heart of this teen coming of age flick. There are a couple of missteps, and some odd scripting, but overall this is a lot of fun, and curiously nostalgic.

– compelling as always, although as it reached its conclusion it was definitely spreading thin. I think they need to wrap it up now.

– the wonderfully simple and yet bizarre journey of two boys who find an abandoned cop car. Perhaps not the most pleasing resolution, but top marks for originality.

– delightful, even on a repeat viewing.

– well made but gratuitous and soulless. After a strong set up, this lacks the sensitivity and humanity of similar dramas.

– Less satisfying than the first season, and even more goofy, but Cox continues to shine and the show remains enjoyable.

– For the second time. This firmly occupies a spot in my top ten films of all time list. Astounding, heart pounding, breath-taking from start to finish.

– long and overly ponderous but nonetheless striking and powerful. The bear scene is already deservedly famous.

– stylish, and at times over-stylised, retelling cum explainer of the 2008 financial crash. Brilliant acting and entertaining in presentation, but a bit smug.

– Not as compulsive as Making a Murderer, but somehow more believable, and consequently more disturbing.

– a fitting finale to the franchise, and to Philip Seymour Hoffman. Fans won’t be disappointed.

– surprisingly strong turn from Chris Evans, very good acting. Hard to like the film overall though. It tries too hard and has a pretty flat aesthetic throughout. I found it an unrewarding experience.

– Very interesting but frustratingly unsatisfying. I’m on the fence about this one. I left the cinema deeply introspective and curious about the story, but that same intrigue leaves you agonised at the lack of resolution.

– An average watch. Nothing to get excited about and very forgettable in every regard.

– Moralistic and preachy, but still a captivating story.

– Terrific acting from Ben Foster, Chris O’Dowd and all the cast. It’s an eye-opening tale even in hindsight. How Armstrong got away with it for so long and so flagrantly is unfathomable.

– Equally enjoyable on a second viewing, but somehow much more ridiculous!

– Mixed emotions on this. Undeniably a spectacle and a feast, but even for Bond’s universe, there are simply too many questionmarks over the plot. Some ill judged and sickeningly cheesy scenes really undermine the overall stylised aesthetic as well. Whilst the set pieces and Bond tropes are all on point, the plot as a whole is very weak and uncomfortably contrived.

– Fun and ridiculous, but not ridiculously fun. It’s a little try hard at times, but there are some great moments. You could do worse than watching it, but there are much better mockumentaries out there.

– Disappointingly unexciting and unthrilling. Hopkins brings his usual enjoyable frenetic hyperbole to the role of Heineken, but the story arc seems ill-conceived and slapdash in its ultimate conclusion.

– a waste of time. A turbid, incoherent piece of pretentious cinema. Not even particularly aesthetic.

– If you ignore the agonising voice of Basil Exposition and overlook the McGuffin brothers, this is almost exactly what you’d expect, but a lot more fun. Wisecracks, iconic shot frames, and lots of awesome dinosaurs. I had a blast.

– paradoxically passive, this is a gripping, if not entirely convincing gangster tale. Oscar Isaac continues to impress, but the end result remains underwhelming.

– never fails to entertain although sadly the product placement has become more evident as one brand in particular has gained traction in the past few years. Otherwise a terrific film.

– albeit nowhere near as bad as I had prepared myself to endure, even for a fan of Marky Mark Wahlberg this was a bit of a slog. Unlikely and unlikeable characters fill a mostly uninteresting plot. That said, it’s delivered with conviction. Ultimately pretty average.

– Pretentious nonsense, and an exercise in audience tolerance. One of the most boring films I have had the mispleasure of watching. Stick with The Signal instead – a much better effort by the same director.

– So so animation, entertaining but forgettable

– Winning teen rom-com with career launching performances. A lot of fun if you like that kind of thing, still moderate fun when you don’t especially!

– almost as enjoyable on the rerun as on a first viewing. Great to see Cruise back in lead.

– Painfully boring with a script that comprises almost entirely of repeated lines. So dependent on a macguffin it’s almost a parody. Don’t bother.

– A pleasure to see a top cast at the top of their game. A pity that the story is so bat-shit crazy, a fact you can only truly appreciate with thanks to Ridley’s undeniably solid film making. Some baffling choices, but overall extremely impressive.

– Sadly the weakest of the trilogy, plagued by some awful script and off pacing. For fans of Jackson’s Middle Earth though, it will always be rewarding viewing and I would watch it again in an instant.

– Clearly not designed for adults, this was unwatchable. Terrible acting, terrible scripting and awful, awful graphics.

– Continues the trend of the surreal adultification of kids. Horribly scripted, badly acted, and filled with a cast in their mid to late twenties trying to be 15. The maze itself is dull, impossibly and bizarrely proportioned given its purpose and occupants, and the hastily explained premise feels superficial at best and utterly pathetic at worst. Agonising that this is what studios throw their weight and money behind these days and more agonising that it will probably be a (financially) successful franchise.

– Paul Newman is commanding and charismatic even as the smug Fast Eddy. It does require a little patience for a modern audience.

– Brosnan back in comfortable shoes as government operative Peter (Bond by another name). Hackneyed and unoriginal, if moderately entertaining for at least the first two acts before crashing out with a nose dive.

– necessary viewing, but hardly the most exhilarating. The sewer chase is pretty iconic, and the visuals generally are sharp and striking. Other than that, this viewer was left unmoved.

– Just about entertaining on a second viewing with some lines that still hit home. Wearing thin though. Not sure I could hack it again.

– Well meaning but disappointing and tonally ambiguous wartime art caper that provides little, if any, actual entertainment.

– As farcical, implausible and two dimensional as every other series of 24, this is a highly enjoyable, almost nostalgic return to the franchise. Ignore the thick American propaganda and stupid plot holes and you’ll have a blast.

– Too abstruse for me, and Wall Street dramas are a far cry from my favourite genre. Long and dull. Clearly of interest to a certain audience though.

– not a patch on the original, though I found it a solid sequel nonetheless. The heroine sequence is particularly unpleasant.

– Not quite up to the first season, and many of the show tropes are becoming a little worn, particularly the seemingly obligatory drawn out sex scenes and flashbacks every episode, but it’s still fast paced and exciting enough.

– Not great, but I enjoyed it. It’s too long, the CGI is horribly subpar, and both the script and editing are weak. Beyond that though, it ticks most of the boxes for entertainment value, just don’t expect too much.

– Unimpressive. Whilst the story picked up by the end of the episode and there was the vague compulsion to continue, the jokes were predominantly lame and it didn’t seem to bring anything new to the “nerd” genre.

– Bizarre, badly made noire, that clearly spent its entire budget on the two leads. The final 30 minutes really drag and some of the sound work is appalling.

– Dreadful on every level. Matthew Modine alone is just about watchable. The film, however, is not.

– Every bit as brilliantly gripping as it’s forebear, even more so. One of the finest thrillers I can remember.

– Not a bad film, just not particularly notable either. The script relies on too many tropes and permits too many contrivances, whilst the delivery lacks panache. Bale gives it his all as always.

– Difficult to criticise but hard to like. Surpringly engrossing, if not gripping. Silent and bleak with some wonderful imagery in amongst the bad green screen. The abrupt ending and lack of conclusion is vexing.

– An unimpressive follow up to the first, for the most part trying too hard to be stylish and winding up camp. The odd sequence makes it worth watching, but only just.

– Very strong performances negate some of Luhrman’s garish and plain bad directorial decisions (modern club music??! What?!), but the film somehow survives more or less intact (perhaps due to the “enduring” novel and DiCaprio). Better than expected.

– An uneventful, peculiar and totally implausible pseudo-philosophical speculation on love and humanity. Engrossing in it’s novelty, but bland.

– Engrossing despite its length, and for the most part brilliantly scripted. The final act disappoints as characters make irrational decisions and contrivances begin popping up, but overall this is hugely enjoyable.

– Statham doing his thing, this time dispatching meth cookers.

– Beautifully shot and an excellent, enjoyable soundtrack, but the film is nonetheless exceedingly dull.

– Sadly, whilst there’s a good movie hidden in there somewhere (at least, all the ingredients are there), it is disguised by horribly self-indulgent philosophising, gratuitous prurience, wooden dialogue, and a plot that is more convoluted than a knotted ball of string. Very disappointing.

– Depressingly anticlimactic and overall not as thrilling as was marketed. A long film with flat pacing. Disappointingly, the strong acting doesn’t make it much more palatable.

– A three phase film: first exciting and intriguing, then a bit farfetched but entertaining, and finally agonisingly farcical and stupid. Dodgy editing as if they shot an epic and cut it down by a few hours, ruthlessly scattering key story elements along the way.

– one of the most contrived and cheesy films I’ve ever seen, but still enjoyable for the most part. Definitely not a must watch but you could do worse.

– Terrible, insipid, badly acted and badly directed mess. One of those films that will make you angry for wasting your time.

– My second viewing. Equally enjoyable if not more so than the first. Such a terrific accomplishment.

– Even for all its fans and plaudits, this is indubitably pretentious and full of itself. Interesting, occasionally insightful and no doubt beautifully shot, but frankly, I found it whiffed of Californication for Italiophiliac pensioners.

– Essentially one long gun battle, this is nonetheless a compelling and well directed war movie. Jingoism aside, this is better than average.

– O’Russell is clearly in love with his cast, the camera barely exits close-up. Not as sleek or clever as I was expecting, though enjoyable for the most part.

– An absolute masterpiece. Incredible all round. One of the finest films I have ever seen. A chaotic, debauched celebration of hedonism and greed and a cutting statement about capitalism.

– Tedious, with solemnity that 50 years on feels misplaced and overly reverent. Brings nothing new to the table. Not worth the time.

– Enjoyed this much more with a relaxed second viewing. No Lord of the Rings, but spectacular and entirely engrossing nonetheless. What a wonderful Middle Earth Peter Jackson has realised.

– Thought provoking, poetic and chillingly existential but for all of that it struggles to be anything more than dour, brooding and slow paced.

– The late Paul Walker in something a little different. Intriguing, if not exacly fast paced. It feels like it’s trying a bit hard, but nonetheless kept me mystified even through the last few minutes. A pity the same story wasn’t executed with a little more finesse all round.

– A second viewing took away some of the scares but this remains James Wan’s masterpiece, even after Saw cut such a high bar.

– Great performances from the stellar cast, illustrating the RJR Nabisco takeover in the US. Unfortunately, as a next-gen layman, I found it esoteric and couldn’t find much to keep my interest.

– Infuriatingly typical. Interesting enough (just about) right up until the third act where everything falls apart and Hollywood’s sense of morality kicks in, resulting in totally irrational behaviour and face palm coincidence. Given the era, perhaps it can be forgiven, but for people to still herald this as a standalone masterpiece, I think is very dubious.

– Harrowing, stark, mindblowing eye opener exploring the consequences of a nuclear war using Sheffield as a case study.

– Psychadelic tripe. This is what camp looks like on a mega-budget.

– Surprisingly vastly superior to the first. Ignore the Hollywood gloss and absurd lighting and this is a gripping, unexpected treat.

– a drugs runner and prodigy chess player applies chess tactics to find an edge in the real world. An enthralling movie and the inclusion of chess is certainly more than perfunctory.

– Still gripping and exciting decades on.

– dreary, macabre, long, tiresome and utterly nonsensical. Quite frustrating in fact! Good acting is the only plus.

– Too mature for children, not mature enough for adults. Sadly, despite a novel concept and imaginative ideas, this misses the mark almost entirely.

– Very average. Just about entertaining but deserves the bargain basket.

– Not half as enjoyable as the first, putting far too much emphasis on the ditzy Sarah (Mary Louise-Parker) and her boring relationship with Bruce Willis. It is still entertaining, but the novelty and sense of inappropriate fun has gone.

– A cinematic spectacle unlike any other, the skill and artistry of direction and sound design inspires wonder. Unfortunately, the lacklustre script is very generic Hollywood fare and doesn’t offer a plot or dialogue to do the rest justice, dragging the film just shy of perfection. Unmissable though.

– as beautiful and poignant the second time as the first, if not more so. Staggeringly powerful cinema.

– Drab and uninventive adaptation of Nabakov’s The Defence.

– Surrealist cinema isn’t for me I suppose. This couldn’t end soon enough. Bizarre.

– As bleak as you’d expect from Mike Leigh. I’m the wrong target audience I imagine, but I found it dreary, slow and uncompelling. Maybe this is pensioners only?

– Indubitably one epic advert for Google, but once it picks up the pace it’s as loveable as we’ve come to expect from Vaughn and Wilson (and their incessant cheery banter). That duo have the charisma of Gandalf and they turn tricks well too. Watch it with the knowledge it’s a farce and you can’t help but be entertained!

– An absolutely transformative piece; perfectly crafted, magnificently acted and potentially life changing. Paul Thomas Anderson is marked with unique, masterful skill – the Dostoevsky of film.

– Nothing new here. Predictable and frustratingly simplistic. It’s not a bad film, but fills a lot of cliches and is pretty much carried by Hopkins.

– As with it’s sequel, a promising start and an accidental killing descends in to reckless, wanton and uncharacteristically pernicious acts by the killers, leaving an extremely frustrating and deeply implausible second and third act. Infuriating to watch despite the quality of production and cinematography.

– Compelling and harrowing tale of the journalist exposing the drug underworld in Ireland. Blanchett gives an excellent performance reminding us why she’s one of the best in the biz.

– Amazing and gripping story of one boys rebellion against the draconian disciplinary measures of his school and the pernicious, evil men who perpetuate and execute them.

– Educational but honestly a little boring – a surprise given its subject matter.

– Honestly very disappointing. The potential didactic subtext surrounding Miss Lonely Heart and any number of exciting twists are overlooked in favour of a simple, uninventive and frankly ‘too obvious’ ending. Given the hype surrounding this classic, I was expecting significantly more.

– Interminable. How much is a gun to shoot myself with?

– a good end to the Cornetto trilogy. It’s no Shaun, but it’s a strong finale. Self referential and laden with pop culture references for the hawk eyed to spot.

– Cheesy but ludicrously and embarrassingly feel-good. Lindsay Lohans only good film?

– consider this an abstract audio visual exhibition and it might just work. Otherwise it is soulless, gratuitous, and extraordinarily boring. A tremendous waste of acting talent.

– the worst of all the X-men films. Boring, poorly scripted and a far cry from the core motifs and principles of the primary trilogy.

– a step back from film five, but nonetheless filled with all the tropes you’d expect from a fast and furious movie. Good fun, absolutely vacuous.

– Moderately entertaining. Not as good as you might expect from the cast.

– Fairly standard Nicholas Sparks fare. Lots of tears and sickeningly fauning, unlikely male characters.

– Probably quite illuminating at the time of its release, dull and predictable now.

– Almost insufferably long but an impressive acting turn for Day Lewis…as per usual. All things considered, too dull to bother with.

– Hammy and awful. Given the amazing quality of on screen gangster presence in recent years (think Boardwalk Empire), this is especially bad.

– One can only hope this will be the last in the franchise. Shoot it dead already.

– Frustratingly bad plane crash of a film. Cillian Murphy’s worst?

– as always highly entertaining and enthralling, but there were three things I couldn’t reconcile – panic Attacks; regenerating, fire breathing mutants (!!! WTF !!!) and the boss battle which ends TDKR style (the killing blow going to someone other than Iron Man). Worth watching for Ben Kingsley alone though.

– Roger is such a smug, unlikeable character from the off that it’s difficult even to tolerate him, let alone enjoy the frustratingly bland and vacuous sex quest he embarks upon with his nephew. Irksome camera and lighting techniques further detract from the unconvinving proceedings.

– Brilliantly entertaining. A strong sequel.

– One of the all time great war films. The duality of man, the futility of war, the base human drives and emotions that inexplicably keep us all fighting, and killing, to stay alive. At times a little self-indulgent, this is nonetheless powerful and melancholic viewing.

– An interesting premise delivered without much aplomb. The conclusion definitely had room for development.

– albeit anticlimactic and a little unconvincing, this is nonetheless a beautifully told story of familial hostility, with strong performances and picturesque cinematography. Ultimately the whole piece feels frustratingly cyclical and inconclusive, but that is likely the whole point.

– thought provoking and touching, but a little too slow and uneventful to wholeheartedly recommend. Strong performances from both Mapother and Marling, especially considering the difficult nature of their parallel grief.

– A difficult, unexpected viewing. An unlikely friendship emerges between two roadside travelers that evolves in to deep companionship. Uneven pacing makes watching this more effort than it ought to be, but the resulting climax is both poignant and thought-provoking. Terrific performances and a philosophical script.

– An excellent, sympatico look at the lives of two prostitutes. Fantastic acting and a really touching premise.

– As much as I wanted to dislike this, it really is irresistibly loveable, which is something, considering that’s pretty much the synopsis of the movie too. A brilliant script makes up for some ups and downs. Top caricature performances and a top rom com.

– It’s a tribute to the potency of this film that it was so horribly uncomfortable to watch. I couldn’t shake the sense of dread for the inevitable conclusion the whole way through. Well made but very unpleasant.

– far too broad in it’s endeavours. I could get behind one story presented in this way, maybe even two, but a third and I’m beginning to look at my watch. I think I enjoyed it, mostly.

– A highly original and cutting edge classic, but 37 years on it can’t help but suffer. A great concept that loses momentum too soon and concludes with a disappointingly farcical crash.

– a well acted if overly sentimental portrayal of a married man coming to terms with his homosexuality in the midst of a small rural fishing village.

– A clunky, spiralling mess that tried so hard to be clever and failed. Enjoyable but frustrating.

– After a great set up it sags towards the end. Includes some golden one liners though and is classic Woody Allen.

– well directed, but unfortunately much dated and fairly unthrilling by todays standards.

– everything about this annoyed me, from the whiny smug kid voices to the convoluted ‘2 kool 4 skool’ direction, to Gordon Levitt’s deadpan glutton for punishment. The whole thing dripped self importance and wannabe indie-cool. Nauseating.

– There’s nothing specifically wrong with this, it’s just flatly unexciting. I really struggled to become anything other than superficially invested in the story.

– probably the worst film I can remember seeing. Just awful. Typical Farrely Brothers.

– given its controversial topic and potential for daring filmmaking, albeit interspersed with the occasional standout scene, this generally pulls it’s punches. There are a few better films on the subject.

– thoroughly enjoyable, if overly convoluted conman flick. It doesn’t always make sense, and you get the feeling it’s trying a little too hard, but it’s feel good and charismatic.

– Most frustrating. Some excellent performances, especially from Bettany, are undermined by a bad script that fails on multiple levels. The story is obscured by platitudes, sloppy metaphors, cliches and exposition.

– either the film failed to do justice to the story or the story was simply not compelling enough to warrant the film. Good if unremarkable performances, although Knightley was always going to be a weak link.

– A solid prohibition piece that lacks the panache to elevate it from the rest and falls to a few unfortunate cliches. Performances are average, but it’s nonetheless an interesting, biographical ride if you’re fond of the genre.

– Streep’s performance is excellent, and the focus is firmly on Thatcher’s character and personal life rather than her politics, which I think can only be a good thing. Not bad as biopics go.

– albeit cleverly constructed and well executed, there’s something anti climactic and ungratifying about the inevitable conclusion, not to mention morally ambivalent.

– excellent. Lived up to the first season, an utterly thrilling finale.

– Intriguing. Excellently well executed and sure to leave you introspective. Pick the right moment to watch this one.

– Very disappointing and decisively unthrilling.

– interminable and almost unwatchable, but nonetheless an achievement if you go in for that sort of thing – Hollywood musicals. I don’t.

– After a riveting and excellent start, the film takes a dive of its own. I don’t think alcohol abuse is the cause.

– Peculiarly flippant given its serious subject matter, and not especially watchable.

– good performances and a good script let down by dodgy directing. An excellent story and worthwhile film though.

– I can’t begin to describe how unsatisfying this film is in every respect. The twist is foreseeable and there is no payoff or climax. Aggravatingly disappointing.

– Terrific, utterly compelling movie. Definitely more of a blokes film though I think, lost of testosterone and machismo.

– An adequate con movie, but if you’ve seen them before then this won’t bring anything new to the table.

– A bizarre abomination of a movie. I can’t fathom how it came to be made.

– interesting if inaccurate speculation about a world where genetic enhancement is possible. Compelling but cheesy as hell.

– Just so boring. No wonder the remake had to go out on such a limb to create something exciting.

– intriguing and wonderfully directed and produced, but ultimately quite disappointing. I’ve pondered long on this film and can’t bring myself to like it.

– intensely saddening, thought provoking and sympatico tale of a terminally ill father. Superbly acted and a wonderfully original glitch soundtrack.

– Mismarketed in my view. It’s a snail paced exploration of mental illness more or less from a first person perspective. Not my bag really, but an interesting watch.

– the fast paced threequel falls far from the quality of the original but will still raise a smile

– awful. An embarrassing sequel.

– very slow and very long, but the climax is almost worth it. Watch it because it’s a classic, if not because it’s particularly overwhelming.

– even better the second time round.

– boring, frustratingly paced and badly scripted

– easier to watch than my first viewing, but still not entirely interesting

– brilliant film making, writing and directing. A pleasure to watch even after all these years.

– surprisingly surreal hybrid of childrens and adults entertainment. Not unwatchable, but pretty last resort.

– Implausible, extremely dull and a bizarrely weak acting vehicle for Russell Crowe.

– one of those quirky, teen angst ridden, coming of age dramas. Everything you would expect. Take it or leave it.

– Hopeless, vacuous and gruesome. A thin, improbable storyline as an excuse for extreme and brutal violence.

– A weak premise and a weak movie.

– deeply intriguing first two acts are somewhat undermined by an unrewarding and underwhelming finale

– Engaging, clever, and genuinely thrilling. A very rare gem.

– In the same vein as Taxi Driver, Scorsese continues his withering expose of the dark and pitiful state of city streets. Epileptic viewing.

– Existential musings through conversation with Al Pacino. Reminscient of Hamsun Knut’s Hunger.

– 007 is back, complete with superb class and smug British arrogance. Perfect Bond. The best yet.

– nothing particularly redeeming about this sadly, glossy hollywood tripe

– intriguing and compelling but slightly lacklustre. Worth watching nonetheless.

– unremarkable but nonetheless entertaining

– intriguing, morbidly compelling, ultimately not particularly rewarding

– absolute excellence. Dominik paves the way. Compelling performances all round.

– Much deeper and grittier than the average superpower flick, definitely worth a watch.

– immensely unsatisfying if beautifully shot

– given it’s basic premise I found it surprisingly compelling.

– fascinating, but undeniably hard to watch.

– Considerably better than the previous trilogy. Spectacular fun.

– 10/10 for the genre. Need I say more?

– simply God awful. I’m definitely not a fan of Carpenter.

– Nolan reignites the Batman flame, and how it flares…phenomenal

– no idea how they dragged the plot out so long. Uncompelling.

– passes the time but easily forgettable.

– Disappointingly trivial. Manages to fall short of thrilling, scaring or exciting at all.

– Fictional confessions from Nixon. Fantastically acted and highly entertaining.

– A worthy fourth title stylistically and in terms of execution, although the plot itself is very thin comparable to the initial three.

– just utterly bizarre. Atmospheric and brooding but without a rewarding climax

– tremendously disappointing. A fun film, but considerably less remarkable than Nolan’s previous outings.

– clearly the first of a trilogy, a slow opener but increasingly gripping. Open ended for the sequel.

– a beautiful, poignant film. Duvall plays a blinder.

– Convoluted and cocky, far too clever for it’s own good and smug to boot.

-gritty and brutal. Nothing more or less than the previous two.

– a sore disappointment after the original

– perhaps expectations were too high, enjoyable but underwhelming

– as incoherent and overhyped as an acid trip

– well acted and entirely boring

– phenomenal, impassioned and emotionally charged. Hackman is surely one of the best actors alive today

– a bleak subject tackled without any pinache. ultimately dull.

– terrific performances all round. brilliantly original.

– better than average, if still a little lacklustre

– a blow by blow english language remake, uninspired and too long

– inexplicably praised, a bizarre and unattractive story

– excellent. superb acting and an uplifting film

– not as good as I remembered it…nostalgic value though

– not particularly compelling, a surprise given it’s acclaim

– could have been so much better, very messy editing or directing…

– A tastefully presented film, given it’s subject matter. Subtle but fairly strong. A lot of talent on display.

– morbidly interesting, but not enjoyable

– aside from it’s frustrating and abrupt ending, this classic 80s noir entertains

– contrived, unexciting, unlikely and sick

– a compelling subject matter and premise but ultimately unfulfilling, not to mention a little pretentious

– bog standard Denzel war flick

– Clooney is great, the film is solid enough but underwhelming

– a great opening sequence crammed full of film references; the rest is dull

– Portentous music and an oppressive atmosphere doesn’t quite make up for the paralysingly slow pace. Still a worthwhile watch though.

– surprisingly adrenaline-fuelled and compelling, albeit backed up by a very weak script. Worth blu ray. Probably.

– excellent concept, entertainingly portrayed albeit riddled with plot holes http://www.imdb.com/title/tt1637688/

– Overwhelmingly powerful, emotionally devestating. Triumphant performances all round. So much admiration for Tim Robbins after this.

– Great premise well executed right up until the grossly unsatisfying final act

– no knowledge of baseball necessary. Excellent film from Sorkin as always

– phenomenally acted, thrilling and gripping film. One of the best I’ve seen. Cassel is a gem.

– painfully dull, most unlike Soderbergh, Clooney’s good though

– practically a spoof but highly entertaining

– unsurprisingly very British and deserving of the plaudits it has received

– astounding visual effects but not much else

– superheroes just kept coming in 2011. Unremarkable but entertaining

– an interesting concept executed badly with an especially insubstantial twist

– almost a return to form for Tony Scott

– Damien Lewis displays his remarkable talent again in this gritty tearjerker

– jumped straight in to my top films, the story of an inmate with a difference

– less gripping than the first

– Lala indie brit flick. Pretty pretentious to be honest

 – great cinematography, but not exactly riveting

– worth it for Rockwell if nothing else

– the original, great film making if a bit overrated…

– almost as bad as Your Highness except Diaz can still pull off sexy

– Redford’s tale of adventures in the wilderness

– Probably pretty convincing once upon a time but agonisingly dated

– watch the trailer and you’ve seen it all, soul destroyingly tedious

– psychedelic animations brought to life by excellent latin jazz

– Wasted effort…

– another pointless gorefest with an implausible twist and over-egged climax

 – beautifully shot, very engaging story, a favourite

– Bradley Cooper is already painfully smug and here he has an IQ off the charts. Nauseating.

– the beginning of the end, nothing special but a light-hearted romp

– one of the worst films I’ve ever seen. Avoid.

– even if you can stand Ellen Page this is an unnecessary effort

– disappointing from Ed Norton and DeNiro

– worthless trash, quite frankly a terrible, witless film

– Al Pacino’s best I think. A masterclass in filmmaking.

– an erotic fantasy featuring school girls fighting dragons. Sexy but not much else.

– an enjoyable watch but totally forgettable

– Now it’s over, the whole lot needs a remake, lets start now!

– harsh and realistic portrayal of sex trafficking, a true story

– classic Eastwood, but not in the same league as In The Line Of Fire

– a decent classic. Watch it.

– An exceptional score by Clint Mansell. Pretentious and boring film.

– my favourite of the trilogy but no less epic

– dull dull dull

– another gripping screenplay from Aaron Sorkin

– one of Soderbergh’s sloppier wannabe-slick thrillers

– an unconventional tale of an assassin

– riddled with plot holes but a good yarn

– the one and only: Joker vs the Bat.

– in your face and hard hitting

– a poignant but beautiful wartime tale from an unusual perspective. Highly recommended.

– bold and brutal, deserving of your time

– uncomfortable viewing

– Woody Allen jumps through Parisian eras with Owen Wilson in tow, great

– classic Moran.

– interesting but distinctly unthrilling

– fascinating insight in to the lives of Ian Curtis and Joy Division

– almost blow for blow remake of Poltergeist with many of the same problems

– an above average concept frustratingly full of plot holes and inadequacies

– though highly acclaimed, this didn’t capture my interest at all

– Joseph Gordon Levitt is a nihilist and unlikely role model for a troubled boy, worth a watch

– a tame Hollywood remake lacking the charm of the original

– an exercise in audience patience, stylised but dull

– Eastwood misses again and an odd choice for Damon

– in my top five thrillers. Malkovich and Eastwood at the top of their game. See it.

– touching and appealing film of wayward youth turned family saviour

– fast talking, smooth and sexy with great performances all round

– loved by many but not my cup of tea, no doubt well done though

– slow burning and surprisingly unpredicatable

– pretty flat and dull to be honest

 – phenomenal and powerful story, emotionally ravaging

Fugitive

(the original) – boring and ultimately pointless with a terrible script

– the first in Nolan’s record breaking trilogy

– a brilliant prequel which falls down on a few inconsistencies and inapt references to the trilogy

– the definition of femme fatale; a french hit girl with an attitude

– interesting, with good performances, but not exactly edge of seat

– mildly entertaining if you have the time and inclination for more of the same

– more Coen brothers, the usual troubled and apocalyptic themes

– if you can stand Bradley Cooper this is watchable

– Better than Caspian.

– not a fan of Kevin Smith but this is an interesting take on religious extremism

 – a boring piece of pseudo-intellectual foreign film

– never understood the acclaim for this movie

– original take on the highly overused exorcism genre

– not a scratch on the German original, don’t bother

– exotic and groundbreaking visuals to the plot of Pocahontas. Lovely.

– no doubt pretentious, but still exploring deep themes with beautiful cinematography

– Fast paced and entertaining, far from exceptional though

– the Coen’s first feature, and the quintessence of their directorial style

– great, but not as good as expected

– Walken is great in this unlikely winner

– potential but doesn’t deliver

– high brow cast for a decidedly average con flick

– unusually bitter sweet for Stiller

– and the same again….

– farfetched but great concept

– surprisingly entertaining, Freeman solid as ever

– disappointing effort from the Boosh crew

– grows in to a great movie

– Two pros at the top of their game sparring; gripping!

– cringeworthy but entertaining, stock Affleck

– original, if a little too eccentric

– somewhat drawn out but decent enough

– bizarre, slow but enjoyable

– another brilliantly exciting mind twister from Nolan

– fantastic, phenomenally well made

– highly entertaining as always

– entertaining if gimmicky

– worth one watch. probably.

– disappointingly dull

– refreshingly bizarre

– hard hitting and brilliant

– even better the second time

– a slow informative doc

– heartbreaking, beautiful

– fantastic head f*ck

– peculiar but interesting

– overhyped and pretentious

– disappointing, another rehash

– very effective, haunting and creepy

– nothing special, predictable

– better than the same would be today

– another Aaron Sorkin, a delight

– phenomenal, and even better in Blu

– Jolie surprises

– classic Adam Sandler.

– emotionally charged

– Aaron Sorkin on top form as usual, Baldwin is great

– terrific old school Sorkin

– predictable but very enjoyable

– Riveting. Very impressive.

– pretty shoddy. don’t bother.

– Clint growls too much, dull

– both Carey and McGregor are on top form

– Absolute bollocks.

– Beautiful

– Enjoyable but not so thrilling

– A Bit Dull

– Overhyped but still good

– Visually stunning is all

– Fresh and Upbeat