Chris Hewitt (1)

It's no Anchorman, but it's several steps in the right direction.

Hiddleston and Olsen impress, and the music remains golden, but this is just another by-the-numbers biopic.

Wonderful to look at, this is a more adult, more complex affair than its animated, and more entertaining, forebear. Still, it’s Disney’s best live-action adaptation yet.

A little too derivative to truly stand out, but gorehounds will love it. Don’t a void.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

With Neeson on fine form and an encouraging start, it’s a shame that this gritty crime drama feels the need to erupt into a full-blown action movie by the end.

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

Broader than Bad Santa and less consistently funny, it's still gleefully rude, crude and often a lot of fun.

Often beautiful but wildly inconsistent, Australia is none more Baz Luhrmann, which perhaps says it all. Worth a look on the big screen, though.

It’s often enjoyable, occasionally very funny, and has an energy and verve sorely lacking from Fleischer’s last few films. So, while it’s simply, plainly, not as good as the first movie, Zombieland is no longer the odd one out on Fleischer’s CV.

Genuinely sweet and endearing Murphy film, at last.

An admirably unsentimental biopic with an excellent central performance, but it doesn't impact as strongly as it could.

There was much to dread about this new iteration of Dredd, but it's a solid, occasionally excellent take on the character, with Urban's chin particularly impressive.

The Godfather II of manwhore sequels, this improves upon the original in every way. Especially if you're drunk.

Not nearly as terrible as burped-out Sandler disasters of recent years, there's enough funny stuff here to remind us of his talent. Still, it's not for everyone.

Still smart, still exciting and still action-packed. It's just a shame to note that, after promising greatness, all Spider-Man 3 delivers is satisfaction.

So insubstantial it may not actually exist, The Mule is very much the latest in a long line of minor Clints. But it might help pass the time on long journeys. Just make sure you don’t watch and drive.

Often gripping, and elevated by Cranston’s superb central performance. But it’s hard not to feel like we’ve seen this before, often and done better.

Blomkamp’s third movie has just about enough spectacle and quirk to overcome some fairly major flaws, not least of which is an unappealing central trio.

Toy Story with a twist, this is better than it had any right to be. Hardcore horror buffs may laugh and scoff at the mechanics of some of the scares; the rest may never be able to walk past the window of a toy shop without crossing themselves.

Fans of the original won't be disappointed, but ultimately it's just another decent, arguably unnecessary, '70s horror remake.

Like most of the recent exports from Apatown, Get Him To The Greek -- aka Russell Brand’s My Filmy Wilm -- is patchy, but home-run hilarious from time to time. If only it didn’t detour into darkness so often, this could have been a genuine treat.

A TV show expansion that is much better than expected. Kids will be there on the double to lap it up, and adults will find it tolerable, which is about as much as you can hope for. But we won't rest for one second until we find out what's happened to Everest. Bring in Benoit Bark to solve the mystery next time around.

A decent, if inessential, take on one of Stephen King’s best novels. Sometimes original is better.

Another all-kicking, punching, shooting and exploding dose of Besson born action, and Jason Statham proves that his action mettle in the first instalment was no fluke.

An unexpectedly entertaining mixture of good, clean Disney fun with some rather more modern action scenes, lent charm by Johnson’s natural swagger. One of the better family films in a while.

While it's neither as dark, funny nor peculiar as you’d expect from Tim Burton, there’s still much here to admire.

A shambling, ponderous mess that aims to be a trashy cult classic and merely ends up in the trash - Fichtner aside. And, in the biggest disappointment of all, there's not even that much angry driving in it.