Caryn James

Although Manville and Hinds are always worth watching, it’s obviously a problem when the actors and the scenery so thoroughly overshadow a film’s story.

With strong performances and a fresh premise about an unexpected friendship in middle age, but far too many creaky comic tropes, the uneven film is always watchable but never pops off the screen in a gripping way.

Selena y Los Dinos remains a slick doc most likely to appeal to her fans.

Karia’s attempts to make the play cinematic work well at times.

For now, Sweeney's celebrity still overshadows her acting.

The best superhero movies let you ignore how ludicrous the plots are, but the silliness of The Fantastic Four is always in your face.

If you can't improve on Spielberg – and really, when it comes to this kind of film, who can? – better to try something bold to prevent any waning dino-interest.

The film, from Nobody director Ilya Naishuller, is a typical action-comedy that benefits greatly from its two stars, and slightly from their unexpected characters, before plunging fast into explosive but trite set-pieces.

But it takes on a quieter, more psychological tone and becomes infinitely better when Fiennes arrives.

Chalamet gives Dylan a defiant look in his eyes and through these later scenes creates a visceral sense of his restlessness, of how important it is for him to break free of the public assumptions about him, both musically and as the spokesman of a generation. You can finally feel an energy that can't be restrained and that should have been in the film all along.

On Swift Horses isn't a disaster, but given its stars and potential, it is a disappointment.

Chew-Bose’s screenplay doesn’t explore the characters deeply enough to replace the book’s jaw-dropping quality with any psychological depth.

The film’s slow-burn pace is an asset, not a flaw. Speak No Evil works best when it focuses on the Americans’ escalating fears, and collapses near the end when the psychological horror story turns into a predictable potboiler. But for a good three-quarters of the way, this Blumhouse production is an entertainingly elevated genre piece.

This story of corruption and conspiracy in a small Louisiana town might have passed as a taut if familiar action thriller — if it had actually been taut.

The fights are about as sophisticated as watching kids in a playground, and they rely heavily on slow motion, as if that will instantly create tension.

As an emotional journey Day One has its moments. For a supposedly scary movie, it's a little bit sloppy.

That story deserves a great documentary. This well-meaning film is far from that. Rebel Nun is pedestrian at its best and cringe-worthy at its faux-arty worst.

Behind the impressive CGI, Kingdom of the Planet of the Apes is the definition of generic, all two hours and 25 minutes of it. The ending teases a sequel that offers a more intriguing conflict ahead, but that doesn't help us now.

The actors keep the film going, at times by sheer magnetic on-screen presence even when the screenplay lets them down.

Some films can re-energise a genre, like last year's huge hit Godzilla Minus One . . . Godzilla x Kong is the opposite, a dazzling visual accomplishment that already feels old.

It’s an intriguing premise. ... But The Greatest Hits is the kind of film that should sweep you away with its charm and emotion. Instead, it’s too transparently button-pushing to go beyond the stale tropes of the weepy drama.

The Iron Claw's shallowness and eventual treacliness are especially disappointing.

Foe plays to the strengths of its actors, two of the most natural and subtle on screen, and is endlessly engaging even though it eventually stumbles into head-spinning narrative problems.

Graceful but slight, in the end The Movie Teller tries to do too much and accomplishes too little to fulfill its big ambitions.

While Pain Hustlers is a perfectly fine title, the film probably should have been called Liza Drake, the name of the sales rep played by Emily Blunt, who single-handedly almost saves this tone-deaf drama from itself.

It is funny, irreverent and crowd-pleasing, with a kaleidoscope of likeable characters and actors. Director Craig Gillespie (Cruella and I, Tonya) has turned a saga that ended up before a Congressional finance committee into a breezy entertainment.

The new film is much pokier in its pacing, with duller characters. Despite some highlights, including Branagh in top form as an even more somber than usual Poirot, the film is watchable but it is also something lethal to a mystery: uninvolving.

The film has its entertaining, off-the-wall comic moments.