Following The Hunger Games was always going to be tough for the Divergent series, another young adult novel series set in a dystopian world.

A loss of focus turns this small English feature from an excellent film into a routine and mediocre one about half-way through, but its opening reels have touches of understated genius about them and it is full of undeniably moving moments.

Liam Neeson sure is making the most of his late career run as an action hero.

Looking for light, cheerful entertainment for the littlies these holidays? Meet Home, the latest animated family film from DreamWorks Animation.

Chameleon character actor Marsan has a long list of supporting-role credits in big films (Sherlock Holmes; Mission Impossible III) and small (X+Y), which releases here next week.

Will Smith and Aussie It Girl Margot Robbie team up in a sleek slice of escapism from directors John Requa and Glenn Ficarra, the co-writers and directors of I Love You Phillip Morris and Crazy, Stupid, Love.

Even best actress Oscar winners can have a bad day at the office, and this is one of those for Julianne Moore.

Just as warm and charming and with pretty much the same cast as the original, this sequel will delight its sizeable fan base, and leaves the door wide open for a third film.

Mike (Austin Powers) Myers' debut as director is a documentary about a talent agent. The choice of subject matter is perhaps the last word in self-referentiality, though it's not clear whether the titular Gordon ever represented Myers.

More theatrical than knuckle-whiteningly dramatic, this NT Live* production of Robert Louis Stevenson's classic 1883 adventure book is nevertheless an eye-poppingly brilliant display of stagecraft with a show-stealing turn from a remote-controlled animatr

The Wachowski siblings will always be known as the masterminds behind The Matrix series, and with Jupiter Ascending they deliver another ambitious and elaborate science fiction adventure.

Grounded is a superb example of how a play can challenge you to think more deeply.

This excellent one-man show from Britain is an intriguing tale, well told.

About 20 minutes into this electrifying, often terrifying documentary, the film-maker shows for the first time the man we have come to know as Edward Snowden.

The media and public fascination with Stephen Hawking has, it seems to me, always been driven by a mixture of infantilising sentimentalism and morbid curiosity.

Given the civil rights subject matter, the greatness of Martin Luther King as the man at the centre of the story, and relevance today it's surprising Selma isn't a bigger, flashier film.

As french as croissants aux amandes and so extravagantly theatrical that you can practically smell the greasepaint in the cinema, this small and goofy French comedy follows the struggles of a young teenager to come to terms with his sexual identity.

Great drama speaks to any day in which it is performed. The second-most famous play by the great Arthur Miller deals with the witch trials in Salem, Massachusetts, in the late 17th century.

There are times in this brilliantly acted and understated psychological drama when it seems very little happens at all, but when the lights go up you're left reeling by the culmination of events that have quietly unfolded.

Fed up with a lack of stimulating female leads in Hollywood, Reese Witherspoon formed a production company and started making her own work. She's created herself a doozy (and a deserved Oscar nomination) playing Cheryl Strayed in Wild.

Unassuming and amiable, this road-trip buddy comedy, which played in the festival last year, belongs squarely in the sub-genre of very-low-budget American indies with untrained actors and improvised dialogue that has been dubbed mumblecore.

The recent movies that have looked at the impact of dementia - Away From Her, The Savages, Aurora Borealis, A Song For Martin, Lovely, Still - have tended to focus on the effect on those left behind as the light dies.

Two movies in and Angelina Jolie the director seems to have already developed a speciality. Her debut In the Land of Blood and Honey was about a Bosnian prisoner of war.

A patient watchfulness and an often exquisite visual sensibility distinguish the first film outside his native Norway by writer director Poppe.

A searching examination of middle-class complacency and gender roles in an age of us-or-them individualism, this assured Swedish drama is the kind of film that's hard to watch and harder still to tear your eyes away from.

The story of Chris Kyle - the "Most Lethal Sniper in US Military History" as his autobiography described him - might have been another kind of movie.