Fourteen years after the first film, the Incredibles sequel still packs a punch.
The highly entertaining return of one of the cinema’s most enduring giant beasts.
Denzel Washington and Viola Davis reprise their stage roles in Washington’s screen adaptation of the beloved 1950s-set play by August Wilson about a black family in Pittsburgh.
TIM Burton’s latest is about a boy who travels back in time to discover a World War II-era school for eccentric children, presided over by a shape-shifting headmistress (Eva Green).
WOODY Allen’s first significantly Los Angeles-filmed feature since Annie Hall nearly 40 years ago is another bittersweet, lightly comic romance, this one set in the big studio heyday of the 1930s.
TATE Taylor’s adaptation of the bestselling Paula Hawkins novel stars Emily Blunt as an alcoholic who becomes obsessed with a local murder case.
THE big difference between the new version of The Magnificent Seven and the revered 1960 feature is the ethnic background of the main characters.
WHAT’S the point of making a cut-rate version of Ben-Hur?
A VIGOROUS and involving salute to professionalism and being good at your job.
MINOR-league scumbags try to take their hustle to the bigs and find themselves in way over their heads in War Dogs, a moderately amusing based-on-reality account of two young American opportunists who bumble and b
SHALLOW is a mild word for it. Others would be silly, miscalculated, unconvincing, artless, pandering, hokey, ridiculous. Or just plain awful.
IN THE inevitably inebriated, sometimes stoned, reliably raw and occasionally bodily-fluid-enhanced annals of gross-out wedding comedies, Mike and Dave Need Wedding Dates rates medium on the grossness scale and pretty high
UP UNTIL a narratively implausible and logistically ridiculous climactic motorcycle chase through Vegas that feels like a sop to the Fast & Furious crowd, Jason Bourne is an engrossing re-immersion in the viol
A COMPELLING and little-known story of the Civil War period is studiously reduced to a dry and cautious history lesson in Free State of Jones.
YOUTH is a voluptuary’s feast, a full-body immersion in the sensory pleasures of the cinema.
BOTH Captain America: Civil War and X-Men: Apocalypse are superhero extravaganzas with severe traffic control problems, but while the former keeps things flowing reasonably smoothly, the latter film resem
THE crass spirit of 1980s Cannon Films is paid knowing homage by faithful step-child Millennium Films in Criminal, a staggeringly far-fetched carnival of action from which a beaten, battered and rebrained Kevin Co
THE beguilingly credible CGI rendering of real-life animals takes its biggest leap forward since Life of Pi in Disney’s new telling of The Jungle Book.
IRISH director Lenny Abrahamson clearly has a penchant for confining his actors to tight spaces - Michael Fassbender within a large fake head in Frank, and now Brie Larson and her little son to a 10-by-10 shed in Room.
AS A comedy about early 1950s Hollywood, the Coen brothers’ Hail, Caesar! has trouble achieving lift-off.
A WOULD-BE All the Cardinal’s Men, the less-than-resonantly titled Spotlight makes a dry affair of the sensational story of a small circle of Boston Globe journalists who, more than a decade ago, exposed the
FOR the multitudes who feared that, after Fantastic Four, Fox might simply be rummaging too far down into Marvel’s basement in search of a few more scraps of lucre, the joke’s on them.
MOST of us were raised to believe that cowboys were men of few words, but Quentin Tarantino is out to prove otherwise in The Hateful Eight, a three-hour Western that’s windy both inside and out.
LEONARDO DiCaprio stars as a man struggling to survive in the wild in Alejandro G Inarritu’s bloody, bruising frontier epic.
THE world is divided between many fools and a few sharp crazies in The Big Short, a strenuously unfunny comic drama about a handful of foresightful, or maybe just lucky, Wall Street guys who made a mint by being r
