Benjamin Lee

It’s refreshing to see a genre film-maker do more than rely on simple tricks and although his knack for dialogue might be questionable, he’s more than capable of constructing a nifty set-piece.

While a younger audience might be enthralled by the fast pace and bright colour palette, those understandably curious adults sitting nearby will find themselves watching in horror, a deep, sorrowful howl emerging.

At a time of nostalgia overload (Clueless, Legally Blonde and Urban Legend are next), Robinson finds a way to make her attempt not exactly necessary but unpretentiously pleasurable enough for that not to really matter. There might not be a next summer but this makes for an entertaining last hurrah.

A head-smashingly redundant waste of time, talent, energy and resources, a shockingly early yet entirely convincing contender for worst film of the year.

It’s a slight movie at times, unfocused at others, even plodding in parts, and I didn’t leave the cinema entirely convinced that it was the most satisfying way to tell this particular story but I did leave feeling confident in both Jackman’s prowess and Finley’s promise, yet to be fully realised.

While The Ice Road might not be quite as cut-and-paste as some of the others (there’s less revenge-taking, skill-listing and name-taking than usual), it’s still familiar enough for it to feel like we’ve seen him do this exact thing before.

It’s frustrating to see yet another first-time film-maker overstack their plate in such a way that feels less like the product of impressive ambition and more empty bravado.

An inoffensive time-filler that’s hard to love but easy to like.

Night Teeth isn’t quite as dreadful as its truly dreadful title but it’s just as forgettable.

A misfire not quite bad or powerful enough to undo Janiak’s great work but one that questions whether the world of Fear Street is one we need to spend much more time exploring. If the introductory trilogy started us off on a thrilling journey, here we’re brought to a sudden dead end.

It speaks to the extremely low bar set by Falcone and McCarthy’s previous films together that something as forgettable and unfunny as Superintelligence won’t be filed as a total disaster. Instead, it’s just another regrettable waste of her talent and another reminder that the best marriages can lead to the worst movies.

It’s quick and brash and seemingly aware of how goofy so much of it is but it’s also awkwardly overstuffed.

The film’s drunken lurch into earnest romance near the end, after leaning on bawdy humour for the most part, requires us to see these characters as something other than farcical chess pieces, an uphill battle for all involved.

While it’s nice to see Cardellini nab a rare lead (in the middle of an unusually fruitful time with turns in Green Book, Avengers: Endgame and Netflix comedy Dead to Me), the script fails to provide her with enough meat, despite her predicament, ultimately stranding her with a rather standard shrieking mother role.

It’s imperfect, sometimes frustratingly so, but also just about fun enough for yet another tipsy Friday night locked down indoors, its sun-drenched setting proving alluring and yet cruelly out of reach.

Curiosity might bring you here but boredom will drive you away.

It all amounts to a passable second activity watch at best.

Even in an oversaturated genre of increasingly diminished returns, Shelby Oaks is about as dispensable as it gets.

A film like Falling for Christmas doesn’t try or need to break the mold, it doesn’t even need to be that good, it just needs to be low-level competent and as these films go, it’s just about passable enough for those who tend to start getting excited about the festive period at least two months early.

Anna is not quite pedestrian but it never really feels like the work of someone with anything to say or prove. It’s competent and even complacent at times, a million miles from what one would expect from the director of The Fifth Element.

It’s all so hard to define not because it’s too brave and original to fit into the system, but because it’s never all that clear that anyone involved knows what the hell they’re making. Whatever their answers might be, I’m positive that Nathan and Cage didn’t aim to deliver something quite so dull.

Even outside of the script’s aggressively repetitive bigotry, the shambolic Scooby Doo plot struggles to grab even the slightest amount of attention.