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In spite of its negligible plot - a group of youths are thrown in the path of a deranged wax sculptor - this film has a lot going for it. The script may be less than brilliant, but it has a fairly tight story, impressive special effects and a great sense of tension and atmosphere as opposed to simple gore tactics. It's just a shame that the film-makers still felt compelled to throw in Paris Hilton, who is there for no reason other than some gratuitous T&A scenes.

I was stunned at how awesomely bad this sequel is. Of its 117 minute running time, it featured maybe 3 minutes of dialogue, and they were badly written. The rest of the film was filled with battle sequences that, while fairly visually impressive, are ridiculously long, tedious and, once it passes the ten minute mark for one battle, very boring. Shoddy script, appalling miscasting of Johann Urb(-a-derp) as Leon, and an extremely weird performance from Li Bingbing as Ada, as it appears they've overdubbed every single one of her lines in post-production. Awful, awful, awful.

Equally hilarious and touching in all the right places, The Devil Wears Prada is a very interesting representation of the fashion and beauty world, and also poses some very poignant questions about the balance between our professional and personal lives. It is also equipped with unspeakably fantastic performances from its cast, including Hathaway and particularly Streep - who manages to fill her seemingly monstrous character with depth and humanity.

After a fairly good first attempt at an adaptation of the Silent Hill games, this belated sequel suffers from poor acting, a shoddy plot and laughable dialogue - considering the film stops dead in its tracks on several occasions to allow lengthy monologues from characters explaining what it couldn't be bothered to show you through the story. In addition, it seems to be too heavily inspired by the more action-filled Resident Evil film franchise, with a noisy soundtrack that jars with the creepiness that made the first film work well. Though a handful of scenes are genuinely chilling and the cinematography has its beautiful moments, nothing can forgive how lazy the filmmakers are in telling this story.

Though its subject matter is somewhat difficult to take seriously - the adopted child of a politician turns out to be the son of Satan - The Omen is a very unsettling ride. It features strong performances from its cast, particularly Peck and Troughton, and especially child actor Harvey Stephens, whose presence onscreen is enough to send shivers down anyone's spine. Nonetheless, one can't help but note its inferiority to The Exorcist, which came out three years earlier.

For die-hard fans of the original 'Resident Evil' video game series, this film may come as a disappointment, as the general horror and darkness that made the games so unnerving has been ditched here, in lieu of an intense action-thriller. Nonetheless, in its own right, this film is highly entertaining. Milla Jovovich puts in a superb performance as Alice, who is lead into an underground base of a multi-national corporation to do battle with a series of ghoulies and monsters, including a horde of the undead. With terrific co-star Michelle Rodriguez, there is never a dull moment, moving at a furious pace with just the right mix of dry humour, mystery that surrounds the "Umbrella Corporation" and its motives, and impressive action sequences featuring an agile Jovovich in the dress she's barely wearing performing some remarkable stunts.

Even if this remake was terrible, it would have to be really bad to ruin the classic original, since it has been adapted and parodied plenty of times since - some of the most popular being Cabin Fever and Cabin in the Woods - but this latest rendition is actually an okay watch, with enough geysers of gore to keep the horror fans happy. Its only downside is that it takes itself far too seriously, and thus any attempts at a laugh are awkward and jarring. But overall, it's doesn't do too bad.

I honestly don't understand the overwhelming criticism that this film is receiving. The film is by no means perfect. The first half of the film is, frankly, boring. As we focus on the love affair between Diana and Hasnat, we miss the bigger picture, and you could easily mistake the couple for a pair from a so-so Nicholas Sparks novel. However, the second half of the film has a lot more going for it, as the fame of the princess begins to destroy her relationships, her family and, ultimately, herself. With a steady - if not watertight - performance from Watts, perhaps the reason for the intense negative press towards this biopic shouldn't come as much of a surprise. After all, they are the antagonists here.

I loved the first film. It's a cult classic. But like me, if anyone else loved the original film, it may take you a while to realise how absolutely dreadful this pointless sequel is. It has a nonsensical plot, no characters, dreadful acting, dreadful music, dreadful script, no scary moments. It is an abomination. The film involves the town of Gatlin being discovered, the children rescued and fostered by the adults of neighbouring town Hemingford. Then somehow, He Who Walks Behind The Rows possesses Micah - this sequel's terminally constipated-looking excuse for Isaac - and the children begin their cult again. COTC II is just plain offensive. The plot shares less in common with Stephen King than it does with a particularly violent episode of Home and Away. Lead actor Terence Knox doesn't seem to be concentrating on his acting skills, and seems to be directing every ounce of his attention to not moving a single facial muscle in his skull. Paul Scherrer on the other hand simply looks like he's on a special day out. Where the first film brilliantly explores the isolation of the victims from the rest of the world, its first sequel offers nothing more than a clueless slasher movie, with the soap opera moments hastily strung together by too-stupid-to-be-funny death sequences involving ridiculous characters that deserve everything they get. One can easily understand why Stephen King does everything in his power nowadays to disassociate himself with the Children of the Corn franchise. If this first offering is anything to go by, God only knows the stream of grime that followed in the other five sequels. You can actually simulate watching this film at no expense by sitting in front of a blank TV screen and repeatedly poking a finger in each eye for an hour and a half.

Geoffrey Rush's employers must have as deep pockets as his character to allow him to appear in this brainless dross. Gore and stupidity take front seat here, while plot, characters and even good fun are absent.

Captain Phillips doesn't give its audience one moment to relax. The debate over how accurately the film depicts the events of April 2009 has not lessened the film's impact. With another stunning performance from Hanks, a clever screenplay and a gripping soundtrack, I guarantee you that throughout its runtime of over two hours, you will not be bored.

The typical 90s action-adventure, with Brendan Fraser as the poundshop Leo DiCaprio. From the outset, you can tell The Mummy isn't going to take itself too seriously; and while a scarce handful of the jokes might work, its attempts at being frightening or exciting just don't, thanks to the unintentionally comic appearance of the bug-eyed mummy. Overall, it's far too long and not interesting.

It's got the visuals, it's got the performances, it's got the direction, it's got the cinematography, it's got the soundtrack, and it most certainly has the tension - now all it needs is a story.

Visual effects aside, Elysium really doesn't offer much groundbreaking material, as it rehashes a social class war story we've heard a thousand times before. It simply isn't exciting enough to keep the viewer's attention. In addition, Jodie Foster gives a surprisingly disappointing performance.

Usually I'm not one for epic fantasy dramas such as this, but this one kept me fascinated the whole time. Each story told within is just as captivating, powerful and intriguing as the next. If you can forgive the sometimes questionable prosthetics, Cloud Atlas is a gorgeous-looking, intelligent little (or actually gigantic) gem. It may require a couple of viewings to fully comprehend a film of this magnitude, but I don't mind one bit.

Hopkins' performance alone makes Hitchcock worth seeing, with his spot-on impersonation of one of history's finest filmmakers. But what adds to the punch is an equally remarkable performance from Johansson as Janet Leigh, and a decent - if not profound - exploration of the great director's mind, and the effect of his genius on those close to him.

An excellent addition to what I suspect may be a long stream of films about films, I'm still a little bitter about this one being almost entirely snubbed by the Oscars. Thompson's and Hanks' performances are truly phenomenal; the story is captivating; its sense of humour is charming; and the emotional impact on its audience actually far surpasses that of its subject matter, "Mary Poppins".

Some films benefit with time, maturing and holding a nostalgic charm. Others rot like a bad apple, like Friday the 13th. Perhaps I had to be alive in 1980 to actually appreciate this one, but it is really not as groundbreaking as some people like to think it is, rather another spin on films like Psycho and Halloween, minus the budget. And the acting.

Not a great deal happens between the beginning and the end of this one, but it makes a fairly simple narrative very effective, with unspeakably good acting.

While the performances are fairly strong, the images are beautiful and the action is gripping, the gaping wounds in the plot make it a little more difficult to take seriously.

After Murphy's twisted Scarecrow and Ledger's psychotic Joker, the final act of the trilogy breaks new ground, with Tom Hardy's Bane being one of the most dazzlingly charming and - with equal measure - pant-wettingly terrifying comic book villians ever committed to film. The unmitigated sense of dread throughout is enthralling, and the film's sheer size and scope - including story, action and visual effects - makes The Dark Knight Rises not only a truly satisfying conclusion to Nolan's series, but one of the best comic-to-film adaptations of all time.

The pace of The Dark Knight far surpasses that of its predecessor, as Bale's brilliant Batman is forced to stop Ledger's wonderfully bizarre interpretation of the legendary Joker. The thrills are plentiful, and the story is poignant.

Gone are the campy cartoon versions of the superhero defined by Burton and Schumacher, as Christopher Nolan introduces the most intriguing, most intelligent and most moving Batman story to date. Bale is excellent, Cillian Murphy is most underrated, and the film is a dramatic and action-packed thrill-ride from beginning to end.

If you are able to mentally tune out the last two minutes of the film - which contradict everything the film has been building towards and effectively ruins it - The Call is a fine thriller with a unique perspective.

Bale's disturbingly gaunt appearance occasionally threatens to overshadow his brilliant performance; and while this story of a man's psychotic breakdown is well told, it is a thoroughly depressing affair, and strays a little on the dull side.

Jack Reacher arrives on screen equipped with bad dialogue, average acting, and fully loaded with clichés. It may offer the occasional clever plot twist, but it completely lacks character and story, and occasionally borders on the unintentionally comical.

The courtroom drama offered here is far more effective than its scares, and will inspire debates amongst its audiences well after the credits roll. Well acted and well shot, Emily Rose is a fascinating film.

It does have some valid points to make about technology, offering a strong critique of the people that use it. Unfortunately, its interesting concept and talented cast are distractions from the fact that it barely has anything original to say.

It can be hard to evaluate a film such as this. Its striking realism is both a gift and a curse: seeing its protagonists in their naturally empty and shell-shocked state for much of the film doesn't make for entertaining viewing - nonetheless its emotional scenes pack such a weighty punch, heightened by Sheen and Bello's terrific performances, you can truly feel their agony. While the fallout from the unconscionable number of tragedies that inspired this film tends to focus mainly on the perpetrator, then on the victims and their families, "Beautiful Boy" wisely forces its audience to think about the side of the story that is rarely heard.

Featuring some great performance and full of laughs, 'Wolf' is a smart and thought-provoking insight into the chaotic lives of those who live by the dollar.

With some questionable special effects, so-so acting and occasionally silly script, The Human Race is actually a fairly solid effort at trying to make a small film feel big. The result is not entirely convincing, but it's certainly never boring.

Depressing is something I generally don't mind in cinema, if it has a point. "Kevin" offers nothing more than gloom, wretchedness and relentless depravity for its own sake, never once offering an explanation, a spark of hope or even a sympathetic character. A vile piece of self-gratifying garbage that can't even tell its own story coherently.

While the film loses its grip on the plot sometimes, its selling factor is its wonderfully silly humour - many laughs coming from its unique cinematography.

It's the basic premise that makes The Purge such a chilling watch and, thought you may see the thrills and scares coming from a mile away, it's the most interesting home-invasion thriller that I've seen in a very long time.

After Will Smith, who delivers a truly excellent performance as the lonely Robert Neville, New York City becomes the real star of this show, as we see the capital of consumerism abandoned and reduced to ruins ravaged by animals and monsters alike. The film gracefully explores the themes of isolation, loss and determination, and Neville's dog Sam is the most emotionally poignant companion since Wilson in Cast Away. However, the film seriously falters in its third act, with the introduction of two human survivors who we simply aren't given the time to know or care about, and who actually spoil the tense silence that comes before it. The film's other main flaw is the monsters themselves, who are rather badly digitally produced and simply aren't very frightening. But come the final moments, Robert's story comes to a heart-rending peak, beautifully played by Smith. (I speak of the film's superior alternate ending, not the "God loves us" fodder of the theatrical version.) I Am Legend is a taut and touching piece, if quite flawed.

Starred Up really succeeds where most gritty British crime dramas of its kind don't, by truly fleshing out each of its characters. O'Connell's powerful performance shows us that Eric is more than a stereotypical violent psychopath - he's a human being too.

In spite of its surrealism resulting in quite a disjointed narrative and its occasional propensity towards the painfully dull, Richard Ayoade actually offers an expert analysis of depression, loneliness and alienation.

Half quirky high-school comedy, half harrowing family drama, no adaptations that succeeded it have had the power to produce the shock and horror of the final act of this, the best telling of the story - arguably even better than King's book. Spacek and Laurie are perfect.

Calvary has plenty to say about faith and hypocrisy, and is a brilliant and much needed celluloid commentary on the recent revelations concerning the Catholic church. While the film struggles with its pacing in its first half, it's all a necessary build-up to the devastating final half, beautifully played by Gleeson and his co-stars.

This is not the kind of film I would generally devote my time to, but I decided to give it a go. And I'm glad I did. If you are able to zone out the negligible plot, it's merely a frame on which to hang some hilarious gags. Just ignore the stupid ones.

While the posters and trailers like to pretend Locke is a thriller, it is actually an intriguing drama. Hardy's performance is fine, even though it took me half the film to work out his accent is supposed to be Welsh (I think), not the muddled Indian one that seemed to be coming out. Nonetheless, the film ultimately succeeds with its compelling plot, steady pace and powerful vocal performances from the cast of invisible but well-rounded characters.

I'm not going to try and insult audiences who have loved this film for over 40 years by telling you this is a bad film - it was just never meant for me. I personally found it to be one of the most intensely boring films I have seen in a while. I suppose it's the genre I have a problem with: crime and gangster films seldom interest me. This one is no different.

Blue Ruin expertly manages to maintain the balance between quiet drama and white-knuckle suspense and thrills. Macon Blair's performance is excellent.

Confusing at times and relentlessly bizarre, the film is successful in showing how artists can be consumed by their craft, along with giving Domhnall Gleeson another opportunity to display his engaging acting skills.

Who knew that the adaptation of a '50s B-movie into such a grotesque-looking film could result in one of the most moving horror stories ever told? Pogue and Cronenberg devise an almost Shakespearian sense of tragedy in their screenplay, with the chemistry between Goldblum and Davis selling the emotion of it perfectly. And while the special effects are repulsive enough to turn the strongest of stomachs, one has to admire the craftsmanship of it. Simply the best remake ever committed to film.

The stream of so-so sequels that followed it may have weakened its impact somewhat, but this original offering is a sick, slick whodunnit that's high on logic and (relatively) low on gore, with a twist that nobody saw coming.

Robin Williams treats us to his entire catalogue for hysterically funny voices and faces in what should be one of the most ridiculous films of all time, which actually turns out to be one of the most touching. While the farcical situation occasionally does become a little too much, it doesn't take away from what lies at the heart of the piece - an incredibly moving family drama about the sometimes devastating impact of divorce. This is a must for all ages.

In spite of some of it script problems and a weak performance from Timothy Olymphant, what makes this remake work is its tense atmosphere and its beautiful cinematography. This is a rarity among recent horror rehashes in that it absolutely surpasses its source material.

Ewan McGregor and young Tom Holland were both more deserving of the Oscar nod than Naomi Watts, good as she was. Other than that, there's not much to complain about with this one. Unusually for a true story tragedy movie of its kind, it shows you the disaster from every angle it can think of with very impressive visuals. Overall, it's a white knuckle ride from start to finish, and there won't be a dry eye in the house by the time the credits roll.

A great cast giving great performances doesn't make up for a daft script. It takes a long time to settle into and ultimately becomes quite tolerable, but it doesn't really have all that much to say. Also, Justin Long needed a bigger part, he was the most hysterical thing in the film.